I’m still finding out what this blog is for. My intention is to blog original music and keep records of my DJing gigs. However, strife at the the Fly is hampering my DJing exploits and I keep accidentally writing music for We’ll Write. Which is cool, obviously, but the idea of Tincanphone is to record more basic, noisy things, mostly for my own amusement.
In the meantime, I’m going to blog about music I’m listening to, because I enjoy that sort of thing, and I’m doing fuck all else.
Today, I have been seduced by new hipster NME-cool-list-fodder Foals. Let’s be honest, here. If you see the song title Tron (Is a Great Film) of course you’re going to want to check it, regardless of your wariness for anything bearing the NME Stamp Of Utter Cuntwittery. Fortunately, it’s as good as its title. Kinetic, slightly clever guitar-and-keys pop is so dangerously fashionable right now, and I’m sure there’s a wanky “post-” genre tag on it, but I’m getting too old to let preconceptions stand in the way of my enjoyment of quality tunes.
Likewise, MGMT are so overblogged already I wonder if my even mentioning them is redundant. However, Electric Feel is some funky shit, and almost certainly 2008’s D.A.N.C.E. Check it.
Finally, Subtle are a genuine phenomenon and one band I’d recommend to every living soul (except for the Tom). Unlikely Rock Shock is the first track to emerge from the forthcoming Exiting ARM, and it makes every inch of my brain very happy.
(mp3s are for sampling purposes. if you are the copyright owner of a file, and would like it removed, simply email me)
Totally bonkers. And brilliant.
Posted in listening
Beepocalypse is a brilliant word, coined by my internet friend Michael. It’s a great way to describe the potential ecological disaster of Colony Collapse Disorder. The Vanishing of the Bees is an independent documentary currently in production, and it looks fantastic. Keeping an eye on that.
(Originally posted on my personal blog, 27/06/07)
Koji Kondo deserves recognition as a legendary electronic composer, up there with Brian Eno and Delia Derbyshire. His music is instantly recognisable to anyone born in the late seventies/early eighties. Certainly everyone recognises this piece of music?
Alchemists of Sound. Excellent documentary on the BBC Radiophonic Workshop. (WMV, not hosted by me, but the only link for this I can get.)
Stand Still. Stand Steady. Stand Clear.
Production Music from Ren & Stimpy. “109 vintage instrumental tracks”.
February Album Writing Month.
Jonathan Coulton: Thing a Week feed.
I hope to have some work-in-progress mp3s up on here over the next couple of days.
The Conet Project – recordings of numbers stations.
The 4am 9: Poptometry
Justice Fabriclive mix
And finally, Mute have put up the promo clip for A&E by Goldfrapp. I love it, and wanted to post it before, but they’ve been overzealous about pulling it until they’ve got their “official” post up.
Trent Reznor says interesting things, for once.
- in a world where the majority of record sales still happen in the physical space, correct me if I’m wrong here, but didn’t this release manage to convert the majority of Saul’s fan base to a digital sales model? that’s extraordinary, no?
- so only 18.3% paid… two things here: 1) there was a large write-up in the New York Times which surely contributed to many out-of-curiousity downloaders, therefore skewing the numbers greatly but even ignoring this one in five paid!; 2) the 81.7% who didn’t are hopefully providing some value by spreading the word through last.fm, imeem, facebook, ilike and other music networking sites.
- you’ve grown a decent base to support touring, merchandising and all the secondary (collectively becoming primary) revenue streams available to a musician.
- the other interesting fact – people are choosing quality downloads. this challenges the notion that music is not valued any more, that music consumers (for lack of a better word) believe it’s throwaway and disposable. that’s a positive, a huge piece of learning in my opinion.
I really appreciate Mr Reznor’s enthusiasm to discuss and dissect this information. I find Radiohead’s tight-lippedness a little frustrating. This information is critical to people who hope to make a living in the music industry, and important to consumers who need a better understanding of the options available to them.
Also, I like his optimism. I’d have expected his response in the form of a mediocre, quasi-industrial dirge called One In Five or something equally insipid and NIN-y.