The CLUAS Archive: 1998 - 2011

24

Damon Krukowski and Naomi Yang are both former
members of Galaxie 500.  One of the the Eighties most influential bands, Galaxie 500 released three albums; Today, On Fire and This is our Music before breaking up in 1991.

As a duo, Damon and Naomi have released 7 albums, with their two most recent, Within These Walls and The Earth is Blue, being released on their own 20I20I20 label.  The duo play Whelan's on June 25th and, thanks to Forever Presents, Key Notes has a pair of tickets to give away. 

To win, simply email keynotes[at]cluas.com - replacing [at] with @ - stating your name and contact details.  Please put the words 'Damon & Naomi Competition' in the subject bar.  The winner will be drawn at random and will be notified before 4pm Wednesday afternoon.

Key Notes will be there, and with any luck we'll get to hear Song to the Siren, one of the best cover versions around:

 


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24

Walking through the central streets of Laos' capital Vientiane last week I chatted with a Chinese family from  Yunnan (the southwestern province which borders Laos) running a shop to shift counterfeit music and film products. A copy of the U2 Popmart tour DVD costs 11,000 kip in the store, the same as it costs in Beijing.

Counterfeits are geting scarcer at home - there’s less pirate CD and DVD product on the streets of Chinese cities – but China’s counterfeiting problem may simply be exported to neighbouring states.  Packaging of the Chinese fakes is slicker, often indistinguishable from the real thing, whereas in Vietnam the packaging is often badly photocopied inlay cards wrapped around a pen-marked disk straight out of a stationery shop. The Vientiane store was identical to the countless others which used to proliferate in Chinese cities: shelves of recent releases and staples by favourites like U2, Eric Clapton and Westlife. It also reminded me of similar stores I've seen in Ulan Bator, capital of China's northern neighbour, Mongolia. 

Industry coalition groups have been saying that makers of fake clothes, software and CDs are increasingly aiming for export markets: EU authorities claim that 70 percent of counterfeits seized at EU ports in 2007 came from China. Given that customs check, on average, less than five percent of containers going through China's jammed-busy ports, it's not surprising that a half dozen boxes of audiovisual product goes undetected, hidden in the front end of a container of fruit or furniture.


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23

Your blogger took one of his rare trips out of Paris last weekend. We were at Saint Lô in Normandy for a family occasion – the younger brother’s wedding to a charming young lady from that area. This means that your Paris correspondent, free-spirited bachelor, now has French in-laws; this may seem apt to you but it’s bizarre to us. (They’re tremendously nice people, we must say.)

A postcard of Saint LôAnyway, Saint Lô is a lovely old fortified town. The wedding itself was in the tiny old church of the bride’s village nearby, after a civil ceremony by the mayor in a town hall that was more like a rural GAA clubhouse.

The wedding party then took their coach to nearby Utah Beach for a photoshoot in the blazing sunshine, before heading back to Saint Lô for the reception. As you’d expect in France, the food was fab and the wine impeccable.

A CLUAS Foreign Correspondent is never off duty, though. After the meal, dancing broke out and we kept a keen ear on what was being played. It being a French romance, first song was the theme from ‘Amélie’. We then remember ‘Double Je’ by Christophe Willem, which still sounds marvellous.

But our main ethno-musico-sociological discovery of the evening? French people will disco-dance to ‘Sunday Bloody Sunday’.

Over the weekend we had time to stroll around Saint Lô. For your blogger, this simply meant his usual weekend routine: breakfast croissant and pain au chocolat at a café while reading the paper en français. Sunday morning, we watched our regular football programme, ‘Téléfoot’, at another café. (We hadn’t realised how exotic this would all seem to some Irishpeople.)

 

Most of the Irish guests found Saint Lô’s only Irish bar. However, they were shocked to discover that it only opens two days a week: Tuesday and Friday. (They drowned their sorrows in the town’s Scottish bar, open every day except Sunday.)

Again, your Paris correspondent kept his mind on the job. As usual when in a new town, we searched for a record shop. In Saint Lô this means Planet R, a book and music store on Rue Maréchal Léclerc. We can recommend it highly; not only were they playing the latest dEUS album when we went in but their biggest section is the alternative music one. And most of their stock was under ten euros. We fear they may be closed if we ever go back to Saint Lô.

Melting PopMindful of our Pamplona experience, when not buying a Jonathan Richman album changed our life, we shopped for a Saint Lô musical souvenir. So, what did we buy? Well, the idea was to get an album that we hadn’t seen in the Paris shops. We eventually went for ‘Melting Pop’, a sampler from French indie label Ra & Bo. This is the French dealer of The Frank and Walters, and the sampler features ‘Miles and Miles’ from their 2006 album 'A Renewed Interest In Happiness'.

Now, back in Paris, we’re listening to ‘Melting Pop’ and hoping to find a hidden French gem or two. Well, there are a couple of pleasant Coral-esque songs by the likes of Da Brasilians, Fireball and The Fleets.

 

As it happens, Da Brasilians are from Saint Lô. Here they are live, with the easy-on-the-ear summertime harmonies of ‘Ocean’. Congratulations to Declan and Véronique:


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23

A review of the album I'm Not Entirely Clear How I Ended Up Like This by Michael Knight

Review Snapshot:  Don't judge a book by a cover, or so older wiser people tend to tell you.  However, what are you to do when the cover is far more interesting than the content? 

The Cluas Verdict? 3 out of 10

Full Review:
Buying/receiving albums in bulk; it can often be weeks/months/years before I get around to actually removing them from their packaging, never mind listening to them.  I'm Not Entirely Clear How I Ended Up Like ThisSometimes though, an albums artwork is such that it moves swiftly to the top of the playlist.  Such was the case with I'm Not Entirely Clear How I Ended Up Like This, the second album from Michael Knight, not a person, but a collective of musicians under the stewardship of Dublin Born/Berlin Based Richie Murphy.  Designed to look like a well read book, it has the subtitle: 'A Somewhat Disjointed Narrative in 11 Tableaux'  and the lyrics are printed in the style of a play.  If that's not enough for you, the listener has a choice of two disks, one with the songs as they were recorded and a second disk of instrumental versions.

Unfortunately, that's as good as it gets with I'm Not Entirely Clear... as what follows is 35 minutes of acoustic doodling that too often confuses self-deprecation with self-consciousness and song structure with overwrought orchestral arrangements.   Combined with Murphy's weak vocals it all adds up to something akin vanilla cheesecake; somebody may have put a great deal of effort into making it and it may contain lots of fine ingredients but the final product is just too bland for my tastes.  Besides, Neil Hannon and Stephen Merritt already carry this faux-vaudeville act with much more panache. 

That being said, there are moments of pleasure on I'm Not Entirely Clear...  The deliciously dark Coronation Street sees Murphy and Nina Hynes (her vocals being by far and a way the brightest star in an otherwise dull sky) duet over the albums most interestingly arranged track.  Lyrically there is a great deal of humour in the words but as with most of the tracks on the album it often feels like you're being excluded from one big in joke.  The instrumental disk is also worth a listen once, just to hear some of the more interesting structures and chord changes but begins to sound like the soundtrack to an art installation towards the end.

Michael Knight state that this album is 'a comically failed attempt to repackage humiliating personal episodes with the joke on someone else.'  Perhaps the joke's on me and that's why I'm not laughing.

Steven O'Rourke


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23

Ham Sandwich (live in The Button Factory, Dublin)

Review Snapshot:  It's easy to make food related puns/jokes when you're a vegetarian reviewing a Ham Sandwich gig, but I shall make just this one by way of summary.  If Codes and Ham Sandwich were the sonically delicious pieces of bread, The Kinetiks were the slightly out of date cheese in the middle.

The Cluas Verdict?  8.5 out of 10

Full Review:
I was wet, I was miserable and I was sulking.  I'd spent all day trudging through the monsoon like conditions that swept Dublin searching for a book that everyone told me didn't exist (An Arsonist's Guide to Writers' Homes in New England if anyone knows where I can get a non-online copy).  Ham Sandwich LiveMy motivation for heading back into town was low to non-existent.  But something (known more commonly as my wife) convinced me that it would be worth it.  It was.

Opening the night were Codes, a Dublin band that specialise in painting musical soundscapes.  Their fiercely catchy synth and keys driven cake is topped by the icing that is Daragh Anderson's vocals.  Experiencing Codes live is the musical equivalent of waking up in some inter-dimensional vortex where you visualise sounds and hear colours.  Songs such as This is Goodbye and Cities are so insanely epic in both ambition and, more importantly, realisation that if all were fair in the world; Codes would easily be filling stadiums recently vacated by little men in purple suits.  A band with potential and ability in equal measure, theirs was a performance that was to go unsurpassed on the evening.

Unfortunately, setting the bar so high could only mean a long fall for The Kinetiks.  The best (and maybe worst) review I can give of The Kinetiks is that they weren't even that bad, it was just so formulaic though that it felt at times as if they were created in a lab in the basement of the NME.  Opening with their best song (Bite the Bullet), which only lasts two and a half minutes anyway, was always going to leave the band threading water.  What followed was a procession of dull-white-boy-skinny-jeans-look-at-my-haircut-indie-pop tracks that made me wish I was standing back outside in the rain again.  Alex Turner has a great deal to answer for. 

The Ham Sandwich performance was a strange one.  Firstly, kudos to the band for fulfilling the date given that singer Niamh Farrell gave birth just two weeks ago.  However, as was mentioned more than once, the band are off to Glastonbury and this gig felt at times like a rehearsal for that event.  Almost all the material played was taken from the bands Carry the Meek album and was well received by a crowd who knew every word.  This is both a good and a bad thing.  It's always easier to enjoy a gig when you know the songs but it would have been nice to hear some new material thrown in as well.  That being said, the Material Girl cover was amazing and the band finished up with my personal favourite, Never Talk.

Overall, this was a rollercoaster of a gig that started in the stratosphere, crashed to earth but finished on a satisfying high.  For the most part, it would seem that the future of Irish music is in safe hands.

Steven O'Rourke


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21

 I took the cramming school, the conveyor belt approach to learning to drive. As a passed and stamped graduate of the Oriental Fashion Driving School I’m relieved that I no longer have to get up at 5 o’clock for a 7 to 12 seat behind the wheel at Oriental’s sprawling complex near the Marco Polo bridge in Fengtai, the southwestern district of garages, cheap apartments and enough cheap land for two of China’s biggest driving schools.

Depending on my class I climbed on the school bus at six or seven in the morning, dismounted two hours later for lessons, and got back on board at 1.15 for the two hour drive home.

A late presence behind the wheel, I took up driving in China because I wanted to practise, safely, before taking my driving test back home in Europe. Why a foreigner costs more to teach than a local was never properly explained to me but I paid RMB8,000 whereas local students paid RMB2,000 for their 54 hours of driving lessons.

Depending on who you ask there are between 100 and 150 driving schools in Beijing. Oriental Fashion is a top-three player: it sponsors the weather show on Beijing TV. And by some dint of good luck and connections it’s the only school allowed to take foreigners as students.

So after a medical exam -a two minute sight test where I called in the door from the top of a queue of fellow applicants – I did what millions of Chinese are doing every day, I learned to drive. I paid my money down but it’d be another month before I could get behind the wheel of a car. I wasn’t told that you’ve first got to pass a theory exam – that comes last in European and American driving test centres. A book of theory was torturously translated, particularly on who should first pass whom on a slippery hill.

It took two visits to the marble-swathed offices of the road traffic police before I exceeded the minimum 90 percent required to pass. My Siberian fellow examinee still hasn’t mastered the rules of China’s road in Cyrillic, after three exams. Driving instructors at home are self employed with pot bellies who collect you from your house in a small red hatchback cars with an L plate on top. At Oriental Fashion I was usually number 505 –mine among the cars lined up in neat rows of silver and white Volkswagen sedans in a giant asphalted car park.

Everything at Oriental Fashion was about order and scale. The giant canteen sat 1,000 drivers and their tutors. The fleet of buses ferried them to Fengtai every morning and home again after class. The billiards room and the motel were for relaxation. It was impossible to know who’d want to stay in this part of town – and you can get digs for the RMB200 a room rate in less industrial parts of the city.

Tutors here have pot bellies too, but tucked into a uniform of blue shirts and synthetic grey blue slacks hitched up high on click-buckled belts the way Chinese men like to wear them. Truck drivers and machine operators seeking a quieter life, they wheeled off each morning from smoking circles as students arrived. The sight of a foreigner was like some spin the bottle, which car is he going to stop at. Foreigners make up five percent of the school’s student base.

A series of tutors guided me through driving, turning, parking, reversing. In our last classes we combined all of the skills. Turning the steering wheel: we did two hours of laying hands and doing half turns, full turns, then right turns.

Driving was sometimes a misnomer for the crawl of saloons around the obstacles, over the bridges and the go-slow bumps. With spring came machines that ripped the tar and downsized the course. Management had sold on to a property developer or to the neighbouring railway yard, depending on which tutor was talking.

The tutors talked through tea leaves and the odour that came from a breakfast of garlic-laced cabbage and baozi, steamed buns filled with meat. The terminology was sometimes inscrutable from teacher to teacher, and most inscrutable from the mouth of my teacher from Shanxi who giggled and scampered around the car to point out bottles and posts and grass marks which were to be lined up with window wipers and door panels. 

I was a constant source of fascination for the other students. Most drove in fours all day every day for two weeks, taking turns behind the wheel while three more sat in the back. A hair dressing salon I befriended were staff working the late shift at a down-town hair dressing salon.  Their hair styles bordered on disaster: there was the disastrous poodle job in brown dye on a 20-something barber, sat next to girl colleagues who went for a long fringe streaked with peroxide blonde and a mad-cap combination of perm and a straight fringe.  

China’s drivers were young and in a hurry to be licensed. There was the 74 year old who drove alone, a dream fulfilled by a wealthy son whose driver waited in a black Audi to take the student home. White-haired and wearing thick spectacles he seemed intent on fun, preferring to give gas on the slow-go obstacle course of raised manhole lids. He had a dangerous habit of overtaking whenever his instructor’s foot was off the brakes fixed in the passenger seat to tame dangerous learner drivers.  

I never saw another non-Asian behind the wheel while I was driving but am told there’s a good sprinkling of Russians and Indians. Whatever, business is good: students need to book a week in advance to get a car and trainer. I paid dearly in sleep and silver for my license to drive in China. But not wanting to contribute to Beijing’s pollution and congestion I’m sticking to my bike.

 


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20

Forget the cliched image of Australian pub rock. There is a burgeoning (and actually quite enjoyable) electro-pop scene. Here's some of the best tunes I've heard recently.

The Presets are a rather avantgarde Sydney duo who make music that meshes the Pet Shop Boys with Nine Inch Nails (if the mood takes them). This video for their Girl And The Sea tune is fabulous - unfortunately I can't embed it but I urge you to check it out here. Their new record, Apocalpso, got this rather rave review in the Guardian today.

Pnau have been on the scene in Oz for 10 years or so and have consistently produced some compelling electronic music. Their debut, Sambanova, won an ARIA (Australia's top music gong) in the late 90s but this poppy little number (which was used as the soundtrack to a milk ad!) caught my ear.

 Cut Copy have had a number one album in Australia this year with In Ghost Colours (and look like replicating some of that success across the world). It's called More of a straight-forward dance sound and they borrow more than a little from New Order. Still... not a bad influence. 

 

 

 


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19
Posted in: Blogs, Sound Waves
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18
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18

There a dilemma in preserving musical heritage. On a recent trip to Laos I picked up a CD of local folk tunes in a grocery store in Vientiane. It’s a nicely packaged album but the sales point – an expat-geared Seven Eleven style shop - and 65,000 kip (EUR4.50) price tag means it’ll only ever reach the ear’s of wealthy expatriates. Several Laotians whom I asked to explain the music blinked on seeing the price tag. Understandably so perhaps, given local clerical salaries average US$50 a month.

Worse, the CD was put together by a French musicologist with help from French public money. A healthy traffic flow suggests there’s money in Vientiane but government funding for the arts crumbled in Laos: the Communist government which took over in the 1970s was never one for reminding locals of their retired royal family, or of the French-imperial days when the country and neighbouring Vietnam and Cambodia were ruled by Paris.

It’s hard to find decent collections of local folk in any Vientiane music store – there’s not many of them. So the country’s musical past will remain in the hands of a few interested foreigners and world music connoisseurs like BBC’s Charlie Gillet.

Even moreso than Laos, China is a ‘socialist market economy’ where official obsessions with economic growth and development makes for an often homogenized culture. Finding original works of Chinese folk is hard, given that most have been souped up with a disco beat or Mandopop stylings.

A lonely voice in the wilderness in Beijing, where itinerant French musicologist Laurent Jeanneau has been making his collections of Chinese minority music available in local record stores like the Sugar Jar. Maybe when they’ve gotten wealthy and built enough malls these states will slow down and go in search of their distinctive culture again: that’s a hope.

 

 

 

 

 


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Nuggets from our archive

2003 - Witnness 2003, a comprehensive review by Brian Kelly of the 2 days of what transpired to be the last ever Witnness festival (in 2004 it was rebranded as Oxegen when Heineken stepped into the sponsor shoes).