Grinderman 2

Grinderman are exactly what you want from a rock band; loud, offensive with a healthy dosage of facial hair. The side project from the winning partnership of Nick Cave and Warren Ellis is a completely different beast altogether from their day job, Nick Cave and the Bad Seeds. It was infact the Bad Seed's most recent offering, 'Dig, Lazarus, Dig!!!' that suspended the production of the follow-up to Grinderman's debut, released in 2007. Perhaps, we have 'Grinderman' to thank for the brilliance of 'Dig', one of the stand-out albums of their 14 record discography, for sometimes a change in name can release and take on a new persona.


In Grinderman, Cave maintains the raw power, intense lyrics and blues laced with guitar feedback and adds a new ingredient of humour to the bag. While their first album explored the frustrations of man's lust, most notably in the appropriately named song, 'No Pussy Blues' this inability to get laid seems to have been resolved in the follow up. In stand-out track 'Worm-tamer' Cave announces, "My baby calls me the Loch Ness monster/Two great big humps and then I’m gone”, quite the admission from a 52 year old man. The album benefits from the fact that he doesn't take himself too seriously, an accusation he has had to deal with previously. Whereas Cave albums have taken his audience to darker places exploring topics of life, death and religion that necessitated engagement, Grinderman 2 (despite its sexual deprivation) can be appreciated from an emotive and basic level. Songs such as 'Palaces of Montezuma' and 'Bellringer Blues' ooze attitude and swagger and it is easy to imagine the man prowling the stage much like the very wolf that fronts the album cover. This is made possible in short by the experimentive sounds of scraping, echoes and distortion found in even the softer of songs such as, 'What I Know' undoubtedly made possible by Ellis and his infamous electric bouzouki.


Grinderman appears to be a release of some sort of tension for both artists, an unstoppable force of menace and noise from a group of musicians who continue to push boundaries. I sincerely hope that Grinderman and the Bad Seeds can continue to work in tandem.

Acoustic Chillout

In recognition of the listener request playlist as part of the Bank Holiday special on 6 Music I decided to try and get a little acoustic playlist of my own together. I am only scratching on the surface of a few chillout acoustic tunes that I love but I want more suggestions so message me. Here it goes...

The Middle East-Blood
Warpaint-Billie Holiday
Black Rebel Motorcycle Club-Weight of the World
The Whitest Boy Alive- Don't Give Up
John Martyn- Back Down The River
Bert Jansch-Angie
Jefferson Airplane- White Rabbit
Donovan- Young But Growing
The Band- The Weight
Neil Young & Crazy Horse- My, My, Hey, Hey (Out of the Blue)
Bob Dylan- Lay Lady Lay
Angus & Julia Stone- For You
Bombay Bicycle Club- Rinse Me Down
The Byrds- Wasn't Born To Follow
Cours Lapin- 1,2,3
Sol Seppy- Human
Emily Haines- Doctor Blind
Bon Iver- Stacks
The Velvet Underground- That's The Story of My Life
George Harrison-My Sweet Lord
John Martyn- Seven Black Roses
Richard Thompson- Beeswing
Gordon Giltrap- The Last of England
Jeff Buckley- Lover You Should've Come Over
Johnny Flynn- The Water ft Laura Marling
Leonard Cohen- The Partisan
Simon & Garfunkel-America
Steely Dan- Bad Sneakers
Lisa Hannigan-Lille
Nick Drake-Three Hours
Elvis Costello-Alison
Paul Weller-Wild Wood
Tracy Chapman-Fast Car
Villagers- The Meaning of the Ritual

I have just realised the impossibility of this list but it still makes for a decent playlist!

Weekly Playlist

Admittedly I have been a little slack on the 'weekly playlist'. In the time I last blogged a playlist I have seen my listening range from metal to dubstep which, probably shows how bad I am at updating this thing. Anyway, this is , in short what I have been listening to.

A-Side

1) The Smashing Pumpkins- Tarantula

2) Tool-Schism

3) The Besnard Lakes- Chicago Train

4) The Walkmen- On The Water

5) The Black Keys- Never Give You Up

6) Nick Cave & The Bad Seeds- Jesus And The Moon

7) Nick Drake- Three Hours

8) Richard Thompson- Beeswing

9) Richard Thompson with Raymond Kane- Time Has Told Me

10) Arcade Fire- Rococco

11) Talking Heads- The Great Curve

12)Klaxons- Valley of the Calm Trees

Side B

1) Maximum Balloon ft Aku- Tiger

2) Katy B- Katy On A Mission

3) Magnetic Man ft Katy B- A Perfect Stranger

4) Benga- Night

5)N.E.R.D.- Hot N' Fun (Boyz Noize Mix)

6) Pryda-Niton

7) The XX - Do You Mind

8) Vampire Weekend- White Skies (Basement Jaxx Remix)

9) Toddla T - Skysurfin'

Live Music

I hear a lot of things at my current place of work but today I was left dumbfounded. I was confronted with the statement, “live music is shit” which was then followed by, “oh no, I saw Bon Jovi once and it sounded exactly like the singles”. I was startled and like a cornered animal fought out with shock and contempt . I was confronted with two equally dangerous statements; one was the fact that someone actually still liked Bon Jovi and secondly that somebody could dislike live music. I have since been compelled to write about the beauty of live music, an art form in its own very right and in a world where music is easily and illegally distributed, it allows a certain freedom of expression.

I read recently that celebrity is now the focal point of youth culture where it had once been music. This is plainly evident when it comes to what is described as ‘the X Factor generation’; where money is pumped into a circus act which celebrates idiocy and humiliation in contrast to an artist trying to lure record labels in by playing various clubs and pubs. What we have in these shows is exactly that; a show,where music is in the background. Now I don’t want to be all 'Daily Mail' and brandish live music a dying art form destroyed by money-grabbing egomaniacs. Live music is quite clearly flourishing with Glastonbury recently celebrating its 40 year anniversary and big acts selling out arena tours within seconds. This may be surprising when you think how accessible music is today but goes to show what live music has to offer

My first ever gig, at the tender age of 11, was AC/DC so I may be a little biased when it comes to the strengths of live music. As well as selling a ridiculous amount of records, AC/DC have succeeded on the back of their fierce reputation as a live band. Recording in many respects is just one aspect of a song and seeing it live can bring about a completely different interpretation. It is the artists chance to put emotion and feeling into a song and truly connect with an audience. I remember this being the case with Sigur Ros a few years back at Benicassim. I hadn’t been a massive fan of the album (apart from the Sony advert song) but seeing the band perform live was a completely different experience. They were absolutely incredible and created an atmosphere that you could never achieve from a CD recording and really did make the hairs on the back of your neck stand up. There is also a lot to be said about a bands contact with it's target audience. Damon Albarn recently reacted to criticism of Gorillaz’ headline slot at Glastonbury by conceding that they had not made the successful transition from an animated performance to one of human musicians. I personally do not go to a gig to hear an exact replica of the song heard on the radio, but to see a band perform it how it is meant to be heard and seeing music as its truest art form.

Barclaycard Mercury Prize

So it's that time again. The nominations have been released and anyone who is remotely interested in the state of British and Irish music are putting their two pennies worth in. For those who do not know; the Mercury Prize is a prestigious music award celebrating the album of the year in the UK and Ireland as chosen by the big wigs in the profession. Although the shortlist has now been announced, the ceremony is not until September so in the meantime it provides fierce debate with music journalists as to who should have been in, who should have been out and who will win.

Despite its illustrious stature within the profession and the initial impact it has upon nominated artists album sales, the winning award has been tarnished with the reputation of being a curse. Take last years winner Speech Debelle for example, her post-Mercury gigs were scarcely attended (even by the rapper herself) and she later parted company with her record label thus being blasted into the realms of obscurity. Damon Albarn has reportedly advocated such a view in withdrawing Gorillaz from a possible nomination although he has publically attributed his withdrawal due to the fact that the award should reward upcoming acts. This is a sentiment I can understand and reason with. Although there is a case for the nomination of certain established acts such as Hot Chip or maybe The Maccabees who have released outstanding albums this year, should the award encourage new acts and bring them to a bigger audience? It is for this reason that I am particularly disappointed in the nominations of Dizzee Rascal and Paul Weller. These nominations reflect a step into the mainstream for the award but are in my opinion distinctly average albums and are certainly not the best offerings from either artist.

The XX have arisen as the bookies favourite and are currently fetching odds of 15/8. I would not complain with the XX as winners as they have made an album that defies genre and has offered something genuinely exciting. Simarly, singer-songwriter Connor O'Brien a.k.a Villagers has produced an album full of passion, emotion and dark imagery (see his performance on Jools Holland) and has emerged as a genuine contender. My pick, in spite of contradicting myself would be for Wild Beasts latest offering, Two Dancers. The band have flittered on the mainstream and are known for their unique vocal intonation. Two Dancers is a masterpiece that is full of energetic, boldly original and quintisentially English (introducing Whitby in 'All the Kings Men') songs and should be celebrated.

The nominations are as follows:

• Biffy Clyro "Only Revolutions"


• Corinne Baily Rae-"The Sea"


• Dizzee Rascal-"Tongue 'N' Cheek"


• Kit Downes Trio-"Golden"


• Foals- "Total Life Forever"


• I Am Kloot- "Sky At Night"


• Laura Marling- "I Speak Because I Can"


• Mumford and Sons- "Sigh No More"


• Paul Weller- "Wake Up The Nation"


• Villagers- "Becoming A Jackal"


• Wild Beasts- "Two Dancers"


• The XX- "XX"

Dominique Tarlé- Recording of The Stones 'Exile'

Rollingstones.com have published part of the collection of Dominique's photographs from his time at the notorious Villa Nelcote during the making of 'Exile on Main Street'. The album has been re-released and is considered one of the Stones greatest despite being marred by tax evasion and heavy drug use. Click on the title above to view part of the collection which is being showcased in its entirety at Atlas, in London's West End.

Broken Bells - Broken Bells

Do not underestimate the talent of Brian Burton aka Danger Mouse. Lest we forget he masterminded the album that never was: The Grey Album. Mixing Jay Z’s vocals with instrumentals from The Beatles White Album, the album became an underground sensation and is arguably one of the best remix albums to date. Since then, he has helped form and produce two albums with Gnarls Barkley as well as the second Gorillaz album, Demon Days. In Broken Bells, a collaboration with The Shins, James Mercer, we see another string to his bow and further recognition of Burtons versatility.

Although Mercer’s vocals have been a distinct feature to the success of his ‘day job’, Burton appears to have given him a little extra attitude and a swagger that signalizes a progression to a more experimental sound. This is not to do any discredit to Mercer, whose influence in creating a softer song construction allows the album to float from one song to the next. This is evident in new single, ‘The Ghost Inside’ beginning with a swooning synth harmony matched with an uplifting chorus despite the album being centred clearly on some form of personal loss. In the opening track , ‘The High Road’ Mercer sings, ‘The Hard Road is hard to find, A detour in your new life, Tell all of your friends goodbye’ a possible nod to the fall out with his former band mates. The vibe however, remains a dreamy one full of wistful harmonies.

Despite previous musical diversions, no severe compromise has been made by either artist. However, the characteristics of both components have found a safe home in each other meaning that the boundaries are not fully pushed. Rather we have the incisive songwriting and galvanising melodies of Mercer submerged with the creative brush and electronic leanings of Burton. The result? A superb pop record.

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A Hard Road, Vaporize, Mongrel Heart