The CLUAS Archive: 1998 - 2011

20

There's been ample coverage, even in the state-run Chinese media, of Steven Spielberg's decision to excuse himself from an advisory role on the Olympic Games opening ceremony. But other artists are less queasy about playing Beijing before the Games in August. In fact there seems to be a queue of acts selling tickets on local Piao agency's website. Foreign governments are "pulling out all the stops, bringing over the big guns," a European diplomat told me last week. That means "huge culture budgets" at foreign embassies in Beijing.

The big classical names are already arriving: New York Philharmonic is here this week, at the new National Centre for the Performing Arts at Tienanmen Square. In the more edgy world of rock meanwhile America's Incubus and British emotion-maker James Blunt will play the Star Live, on March 12 and April 18 respectively. 

So there will be plenty of money, if little political point scoring, by western artists in Beijing this year. Both acts are charging plenty at the 1,000-capacity venue's door: Incubus ticket range from RMB400 to 600 (EUR40-60) while Blunt wants to pay a minimum RMB380 for his show (the most expensive tickets cost RMB780). We'll be keen to see the attendance on the night. Celine Dion meanwhile landed the newly renovated Worker's Stadium, once the prototypical Chinese socialist sports grounds, for her April 13 RMB300-3,000 per-head one night in Beijing.


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19

Rarely Seen Above Ground, the electronica project of Kilkenny drummer Jeremy Hickey, appeared at La Flèche d'Or in Paris on 16 February.
 
Unfortunately, your CLUAS Foreign Correspondent (Paris) wasn't there, so we can't bring you a review or any news of how the show went. Please excuse your humble F.C.(P.) for this lapse in our service. If you were there, let us know how the show went.

The least we can do to make amends is to plug Hickey's next Irish appearance. Rarely Seen Above Ground will be on the Phantom 105.2 stage at the Childline Rocks show at the Academy (formerly Spirit, amongst other names) on 28 February.

We understand that RSAG's live show is quite special - Hickey sits in the centre of a huge drum-kit, singing as he plays. Behind him are video projections of him playing the other instruments you can hear in the live mix. You can see for yourself at the Childline Rocks gig.
 
Hickey, former drummer with Kilkenny band Blue Ghost, released an album in 2006 and you can hear some tracks on the RSAG MySpace page.  Here's a taster of his live show, filmed at the Dinner's Ready festival last year.


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18

CamilleAt last, new material from one of our favourite French artists.

Camille (right) has just released her new single, 'Gospel With No Lord'. It's the first track to be taken from her new album, the wonderfully-titled 'Music Hole', which is set for release on 7 April. Another song from the album, 'Money Note', is available from her website.

'Music Hole' is the tardy follow-up to Camille's 2005 album 'Le Fil', winner of that year's Prix Constantin and (no less prestigious) French Letter's Best French Music Of 2005.

There's no news yet of any upcoming Irish shows by the French singer/voice artist, who previously performed in Dublin as part of post-modern bossanova punks Nouvelle Vague. If you fancy the trek to London, she's playing at Koko on 14 May, with dates in Brussels, Hamburg and Paris thereafter.

No video yet for either new track. However, to give you an idea of the Camille live experience, here she is performing her hit 'Ta Douleur' on French television. How would you describe THIS?


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17

Your Paris-based blogger is always glad to find Irish acts who love le French touch. Neil Hannon is a noted Francophile, for instance, and Dark Room Notes paid homage to classic French cinema in their video for 'Love Like Nicotine'.

Les BienAnd then there's Dublin electronica duo Les Bien (right). As well as the French name (suggestively sexy, at the expense of correct grammar - very Parisian), they're an electronica duo and you can't really get more French than that, non?

Mais si! *Gallic shrug* The two lads, Simon and Leon, have a cracking track called 'We Don't Speak French'. It's a fine bit of dancefloor français with, for that extra Parisian touch, a breathy female asking "Qu'est-ce que c'est?" every few seconds.

The tune has come to our attention because of its video by NYU Tisch School Of Arts student Kelly Goeller. Their collaboration is part of the Hot Press/NYU series of videos. An excellent concept - unfortunately, Hot Press thinks that the video is for 'Can't Speak French' by Le Bien. In fairness to HP, though, the band's own website (not updated in a year) calls them Le Bien and speaks about their "raison d'aitre" (they can't spell French either). And Kelly Goeller's site calls the Le Bien too.

But they're Les Bien on their MySpace page and in the photo above. And, given our puerile nom de blog, choosing which band name to use was a no-brainer.

You can hear more from Le(s) Bien at their MySpace page. Here's the aforementioned video for "We Don't Speak French":


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16

The most important Irishman in the music industry these days isn't Bono or Paul McGuinness or even Louis Walsh. It's Charlie McCreevy.

Our former finance minister (right, listening to his fave tunes) is the European Commissioner with responsibility for the internal market and services - in other words, how we in the EU trade amongst ourselves.

What has this got to do with the music biz? Well, while you were canoodling with your significant other on Saint Valentine's Day, McCreevy really did the dog on it, and gave the record industry their heart's desire. On February 14 he announced his intention to extend the duration of copyright for a performer's recordings, from 50 years to 95 years.

Under current legislation, a composer enjoys seventy years of copyright protection, while the interpreter's rights lapse after fifty. While composer-performers like The Beatles were not due to lose their writing copyright anytime soon, use of their recordings would have been up for grabs. The situation was even bleaker for non-writing singers and musicians active in the early-'60s and before, who were fearing severe loss of income in the coming years.

French record companies, for instance, are surely fuming that some rights have lapsed on many recordings by Edith Piaf, especially given the renewed interest generated by the current Oscar-nominated biopic. Similarly, there's no copyright on many performances by Maria Callas, still the world's most popular diva, and Django Reinhardt.

Piaf's version of 'La Vie En Rose', for instance, is in the public domain and now appears on many of the cheap Paris compilations touted at tourists nostalgic for pre-war Paris or post-war Saint-Germain. Those compilations also feature tracks by the likes of Josephine Baker, Charles Trenet and Lucien Boyer - perennial favourites who could still make loads of money for record companies were they still in copyright. Those tourists buy the compilations more for souvenir value than listening pleasure, but it still represents a considerable spend on music. Understandably, French record companies are unhappy at the idea of losing the copyright income of ever more established stars.

Imminent on the public-domain horizon (from a French perspective) were lucrative back catalogues by Johnny Hallyday and Charles Aznavour. McCreevy's announcement ensures that Hallyday (still recording and touring to enormous success) and his generation, not to mention their record companies, can continue to reap royalties from a lifetime of recordings.

The extension to 95 years follows the lead of the United States, where the Copyright Term Extension Act (popularly known as the Sonny Bono Act, after the late singer/senator) of 1998 already guarantees a near-century of rights.

Europe's music industry has been lobbying on the issue for some time. On the European Commision website you can even watch a video of a 2006 meeting between Commissioner McCreevy and Lucien Grange, CEO of Universal Music.

Any mention of profit from art and music is always a sensitive and emotive subject, and the music industry's line is usually something like 'we're protecting the rights of smaller artists'. In this regard, McCreevy is certainly on-message: "I am not talking about featured artists like Cliff Richard or Charles Aznavour," he said in his announcement. "I am talking about the thousands of anonymous session musicians who contributed to sound recordings in the late fifties and sixties. They will no longer get airplay royalties from their recordings. But these royalties are often their sole pension".

True, no doubt, but you can be sure that it wasn't nameless sessioners that Grange was seeing McCreevy about. The references to Cliff Richard and Charles Aznavour indicate something more than the Commisioner's listening habits: one English and one French star to (subconsciously, perhaps) represent the biggest record markets (and thus, strongest lobbies) in Europe - if we count out U2 and ABBA, English and French acts sell more internationally than acts from any other EU states (the internal market, as we saw).

McCreevy's proposal is expected to be adopted by the Commission before its summer recess. Cliff Richard can then go on his summer holidays, no more worries for quite a long while.


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16

A mural worthy of Belfast’s Falls Road was the backdrop to the whispy Liu Cai Xing last night at the Traveller Bar in Hangzhou, the wealthy lake city just south of Shanghai. A 20-something seeking greener pastures beyond Beijing’s increasingly competitive music scene, Liu and her guitar sounded good but her contemplative kind of music may not be what Chinese audiences want.

There was no shortage of local punters but they didn’t actually pay much attention to the music. Their focus was rather on the large jug-mugs of Carlsberg and dice on the table: Women played men at beer drinking. It was loud and bawdy. Less people were focused on the music at the You To bar up the road. A promised guitar man Xiao Tong didn’t show so the bar was playing a live Bee Gees DVD on a pull down screen.

The place was jammed but there were few eyes on the Gibb brothers. Staff squeezed between tables to serve beer and food. More of the latter, lots of noise and sunflower seeds being cracked and sucked. We found both bars thanks to the colourful and comprehensive More Hangzhou, a listings magazine in English that’s more breezy and engaging than the increasing proliferation of government-produced English language magazines sold in guesthouses in this and other Chinese cities.


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16

St Patrick’s Day means it must be Irish Ball time again. Since St Patrick’s Day falls on a Monday the annual party will this year happen on Saturday March 15, at the Kerry Centre Hotel. Festivities begin with cocktails at 6pm. To ensure punters get full value for their RMB1,000 tickets there’ll be free flow of Guinness and Jameson whiskey all night. 

 
Organisers of the Ball (a sell-out affair for the past five years) the Irish Network China is flying pub-rocking quintet Kif to ensure the crowd gets its fair share of U2, Van Morrison, the Pogues and other danceable Irish gems. From Galway city on the west coast of Ireland, Kif will play a lengthy set once the dinner, speeches and auction are over.
 
A menu of Gaelic cuisine for the night has been created by Beijing-based Irishwoman Catherine Toolan, who in her day job heads up the operations of Aramark, the international catering group which will be particularly busy feeding athletes and VIPs at the Beijing Olympics.
 
Cash from the Ball goes to Jinde charities, a Hebei-based community charity which, among other things, helps poor families pay tuition fees. Last year a battle of bids yielded RMB50,000 for a landscape oil painting by Irish artist Paul Christopher Flynn. "That’s a lot of school fees," says Joe Loftus, Irish Network China committee member and Jinde volunteer. 

There will be other jolly green frolics in China's capital to mark Ireland's national day. St Patrick’s Day also means parades – Dublin and New York have the world’s biggest and best known - of leprauchauns, ceili dancers, Gaelic footballers and anything remotely Irish. This year Beijing will get one too. A March 16 parade of (Chinese and) Paddies down Wangfujing will mark the beginning of an Irish cultural festival running from 16 March to 6 April. The Irish Embassy and Tourism Ireland are the main organisers.

 

 


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15

It's time to play the music
It's time to light the lights
It's time to meet the nominees for the Meteor Awards tonight.

Ah award season.  There's nothing like dusting down the old penguin suit and getting ready for the glitz and glam that comes with reporting from the front line of the Irish music scene.  In the coming weeks we have The Choice Music Prize and, eh, Eurosong 2008 [Insert own turkey gag here], but tonight the Irish music scene gather to give themselves one big collective pat on the back at the 2008 Meteor Awards.

The Meteors, or the Meteor Ireland Music Awards to give them their proper title, are a uniquely Irish event.  Westlife, for example, have won the Best Irish Pop Act category every year since its inception.  Ray D'Arcy, despite playing very little music, has a similar hold over the Best Irish DJ category.  Key Notes isn't a betting man - indeed the last time he bet on a horse it died, not figuratively, but literally, while leading with just 100 metres to go! - but you could get very short odds on both these categories being awarded to familiar faces tonight.  What is it about Irish people and their ability not just tolerate rubbish, but to reward it?

Conversely, this years Meteors have the potential to be the "indiest" Meteors yet.  HypeFight Like Apes are up for Best Irish Band alongside Future Kings of Spain, The Flaws and Delorentos.  If there is any justice in the world Cathy Davey should walk away with Best Irish Female, while Glen Hansard's Oscar nomination is likely to be enough to see him secure the award for Best Irish Male.  With Paddy Casey the only pop act in the running it is also likely that the award for Best Irish Album will go to an indie act. 

The following is a run down of who Key Notes thinks should/will walk away with the main Prizes tonight:

Best Irish Band
Will:  Fight Like Apes
Should:  Future Kings of Spain

Best Irish Album
Will:  Tales of Silversleeve - Cathy Davey
Should:  Tales of Silversleeve - Cathy Davey

Best Irish Male
Will:  Glen Hansard
Should:  Duke Special

Best Irish Female
Will:  Sinead O'Connor
Should:  Cathy Davey

Key Notes would love to hear what you think about the Meteors.  Who do you think should win what?  Do you care or are award nights just an excuse for musicians to get drunk cheaply? Whatever you think, feel free to leave a comment below.


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15

If you only download one track, make sure it is, "Right To Arm Bears', a subversive take on the American obsession with hunting wild animals, in which the animals fight back. Gnarly. To hear preview clips from the album click on to Lost Highway Records - Paul Westerburg - Open Season.


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Posted in: Blogs, Sound Waves
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15

On their first two albums, Parisian trio Cocosuma (not to be confused with Canadian duo CocoRosie) were plugging away at the loungecore end of the electro-pop spectrum. They achieved minor success in France, got on a few soundtracks and compilations (the way most loungecore electro acts do) and could be overheard in hip cafés (likewise). So far, so-so.

CocosumaHowever, the departure of singer Kacey seems to have shocked the remaining pair, Chab and Michel (who spells his name Michelle! What a gas character, etc!), into changing their style. And the change has done them a power of good.

In comes an English singer, Amanda, et voilà! The new and improved Cocosuma (right) now make sunny pop anglaise à la Peter Bjorn and John, latter-day Belle and Sebastian and 'Revolver'-era Beatles. We also reckon they like Brian Wilson, perhaps own the first Badly Drawn Boy album - and definitely some Nick Drake, what with the wistful acoustic sound of many of their new tracks. And the fair Amanda and her gentle voice might remind Irish music fans of Carol Keogh from The Plague Monkeys, Automata and The Tycho Brahe.

The band themselves say they're somewhere between Joy Division and Take That, but that might just be more of Michel/Michelle's gasness. You never know with that fella!

The new line-up's first long-player, 'We'll Drive Home Backwards', also continues the current fashion for intriguing album titles by English-language French acts (the reigning champs are French Letter favourites Cocoon and their 'My Friends All Died In A Plane Crash').

It's a fine album of breezy indie-folk-pop tunes, some of which you can hear on Cocosuma's MySpace page. And for your tired eyes, here's the soothing video for 'Cinders'. No doubt our readers will instantly recognise that it features Rudolf Nureyev and Margot Fonteyn performing an extract from 'Swan Lake'. Following on from our jazz and folk-trad mini-sites, let this be the first part of the new CLUAS Ballet Section:


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Nuggets from our archive

2008 - A comprehensive guide to recording an album, written by Andy Knightly (the guide is spread over 4 parts).