Tanlines – Brothers

Another band off Brooklyn’s seemingly never-ending cool band production belt, Tanlines
are Jesse Cohen and Eric Emm, and they fit into the synth pop bracket, as most of my favourite new music does these days. Named after the studio it was recorded in, this song’s crashing waves of synths, pulsing bass and thumping percussion provide a blissful background for the brilliantly downcast vocal. And the video showcases the multi-instrumentalism behind this talented new band. See an interactive version of the video, allowing you to move the camera, here.

Almost Famous

By now it’s pretty obvious that I love music, and I love musicians, but I also love films, and anything that manages to tick all three boxes is right up my street. So here, in the first of a series of posts, I will discuss my favourite music films, some may be about music and some may just feature great music.

As an aspiring music journalist, there is an obvious place to start. Almost Famous.

The story is that of William Miller, a 15-year-old aspiring journo who meets a band at a gig in 1973 and winds up going on tour with them working for Rolling Stone magazine.

I dream of being the kid from Almost Famous on a nightly basis. The film’s Writer and Director, Cameron Crowe, actually was the kid in the film, well, a version of him. In real life he became Rolling Stone’s youngest ever contributor and for his first job went on tour with The Allman Brothers, where the film’s story comes from.

The near-fatal plane crash scene really took place when he was on board a plane with The Who. And he’s now a successful Director. If that isn’t it enough to make anyone insane with jealousy then I don’t know what is.



The film itself is near perfection, capturing the atmosphere of a time when rock music was truly exciting, and giving a great, albeit exaggerated, view of how music journalism was, which, sadly, is quite different to how it is now, as Laura Snapes referenced in her interview last year. It also has one of my favourite ever quotes about being an obsessive music fan.

“They don't even know what it is to be a fan. Y'know? To truly love some silly little piece of music, or some band, so much that it hurts.”

The performances are memorable, the music is obviously great, and the writing is funny and poignant. The Tiny Dancer sing-along and plane crash scenes in particular are some of my favourite ever film moments.



It also has serious messages about idols and hero worship, something we are all often guilty of when it comes to music.

As a film about my passion, music journalism, it is unrivalled. And visions of my own Tiny Dancer sing-along with a ragtag bunch on a tour bus driving across the American mid-west get me through most days, though I like to imagine it’s Jack White, Alison Mosshart, Win Butler, Laura Marling, Grimes and a surprisingly chipper Thom Yorke singing along with me. It could happen.

Craft Spells – Your Tomb

This perfectly short slice of retro indie pop comes from California four-piece Craft Spells. The entwining twinkly synths and lo-fi guitars contrasting with the brilliantly unassuming and distant vocals create a sound that I find compelling. It has a similar 80s feeling that bands such as The Drums, Wild Nothing and Crystal Stilts have been channelling to great success. From the album Idle Labour, released this time last year, I may have missed the boat somewhat, but it's better late than never.

Short songs

This list is really a catch 22 situation. These songs are all brilliantly short and sweet, so I often wish they were longer, but is their greatness tied to their length? Would the spark be gone if they were a more standard length? Would they become just another song that starts well and loses its way? We will never know, but one can dream.

A short song has to create a lasting impression, and the best way is to burst out of the blocks and go for the jugular, maintain that intensity and generally be loud, energetic and riotous. Burn hot and fast and end rudely and abruptly. So, we’ve got a title track from The Vines that kickstarted one of the best albums of the noughties, some sweary punk from Be Your Own Pet, a noisy effort from The Kills, a great blast of surf pop from Beast Coast, and of course one from THE band for short songs, The Ramones.

The Smiths reunion

We want the one we can’t have

Yesterday (26 April) saw fresh speculation that The Smiths had cast aside their famous differences and were set to reform for a tour later this year. It was quickly quashed by Johnny Marr and Mike Joyce, who are probably more reliable sources on the matter than
the crappy website that ran the original story.

Despite the story originating from a clearly BS article, which contained no evidence, sources or even information really, this latest round of rumours were still enough to be picked up by all the obvious names, NME, Q, Pitchfork, The Times etc. before the same sites posted follow ups dismissing the rumours.

It led to The Smiths trending on Twitter and the usual reactions to these now all too
familiar rumours. Many were horrified, many were hopeful, most were sarcastic.

It is however indicative of our interest in reformations and reunions that woolly at best speculation can still make an impact online. It’s become simply a quick and easy way to stir the pot and gain a fair few hits, both by the original website and the subsequent big boys. And yet we still bite.

I love The Smiths and I love the fact they are one of an ever-decreasing number of bands that refuse to reform. I hope they don’t. Plus, Morrissey walked off stage ten minutes into the gig the only time I’ve been to see him, so I can never take a tour announcement from him completely seriously.

I think there is a definite element of wanting what you can’t have in reunions, which is
what makes The Smiths perhaps the last big name. We know they won't and that makes us want it more. But how many bands are better the second time round? Actually manage to release new material? Most of the people who want this reunion probably wouldn’t even
get to experience it, as was the case with The Stone Roses reunion this summer.

I have seen a few reformed bands though, and so I know first-hand that it’s a mixed bag. 

It depends on what sort of band they were, when they split, why they split, the reason for reuniting and a whole load of other factors.

I saw Smashing Pumpkins (well, Billy and Jimmy before even Jimmy left) at Reading
in ’07, when they were good, and on an arena tour the following year, when they ruined everything. Billy reformed because the Smashing Pumpkins name drew a bigger crowd
than he could, but it soon became just another solo ego trip.

I saw The Libertines, also at Reading, in ‘10, who, while only doing two performances in total, were excellent. They made it through the set without fighting each other and the songs sounded great live for those of us who had missed out first time around. I’d say it
was a success but it didn’t do a lot for their legacy or lead to anything else so was it worth all the fuss?

I also saw Rage Against The Machine, again at Reading, in ’08 and it was one of the best performances I’ve ever seen. They returned with renewed energy and had lost none of their relevance or potency. They found new targets and reached a new generation. A success but again it hasn’t really gone anywhere since.

Could the same be said of The Smiths? Would they have an impact beyond their own bank balances? Obviously, there are arguments for and against.

"I would rather eat my own testicles than reform The Smiths, and that's saying something for a vegetarian," Morrissey, 2006.

The backdrop of an unpopular conservative government and a country in recession makes it sound almost appropriate, but aren’t protest songs for angry young men? Plus isn’t there something ironic about a band reforming and earning millions of pounds while playing anti-establishment songs? I've seen Dylan live and frankly, though I still love him, wish I hadn't. I'm sure plenty of Sex Pistols fans feel the same after their several reunions.

Morrissey told Uncut in 2006, "I would rather eat my own testicles than reform The Smiths, and that's saying something for a vegetarian." Do we want a Morrissey that goes back on that? While I don’t agree with a lot of what he says, that's who he is and I don't want to change that.

While I don't blame anyone for taking the money, wouldn’t it really tarnish The Smiths' legacy and go against what they stood for? We want the one we can’t have, but be
careful what you wish for.

I’m happy with their back catalogue the way it is. I think they are right not to reform and many agree, including the four most important people. So, as Q Magazine appropriately tweeted, ‘Thanks for playing ‘The Smiths aren’t reuniting game’ we’ll see you next time’.

Beach House - Myth

This song, the first to be released from Beach House's forthcoming fourth album Bloom,
is an early contender for song of the year for me. I’m not ashamed to admit that during
a particularly bad day, not long after I first heard this about a month ago, I put this song
on and ended up listening to it about ten times back to back. The fact it makes me feel something different each time I listen makes it extraordinary, it's a chameleon of a song,
at times uplifting, at times perfect to wallow to. I hope it works its wonders for you too.

Grimes - Oblivion

This song from quirky Canadian Claire Boucher, aka Grimes is taken from her excellent album Visions. I love the contrast of her beautifully incomprehensible vocal melodies with the electronic beats and droning synths in this song. The video is strangely great too, with the odd juxtaposition of her electronica and a sports arena working well. I like the haphazard nature of the video too, with confused and drunk people  interrupting, giving
strange looks and even getting involved, and the fact no one seems to know who she is.