God Is In The TV: INTERVIEW: Boz Boorer

bozboorer

Boz Boorer is longtime guitarist, co-writer and musical director of Morrissey and his band, and has also worked with Edwyn Collins and David Bowie, amongst other luminaries. Sean Bw Parker spoke to Boorer about Johnny Marr, Lou Reed and his abiding passion for Rockabilly

Morrissey’s ‘Autobiography’ looks set to be one of the most commericially successful of its genre. What do you think of the book?

I have only just started reading it but I am finding very well written, informative and funny.

How do you get along with Johnny Marr?

I have only met him on a few occasions but he is always the consummate gentleman, we have quite a lot in common.

Where were you when you heard that Lou Reed had died, and how did you feel?

I was at my studio in Portugal getting ready to return to London, we had the UK news on the radio because there had been a storm and then U heard of Lou’s passing, I felt very sad, he had recently had a liver transplant so it was expected he would enjoy a few more years.

With reference to The Polecats, how relevant is rockabilly as a musical force in the UK in 2013?

The Polecats have just been out doing a few gigs and the genre seems to be enjoying a resurgence, recently there have been a few new young bands on the scene and a few of the older ones have reformed. I don’t think it will ever revisit it’s heyday of the early 80s but it’s a nice thought.

When you and Morrissey write together, what is the process? Do you both come in with fully-formed ideas and put them together, or…?

I submit finished tracks, Morrissey writes over them, sometimes they are edited, keys are changed, sometimes not.

Which is the song or other musical moment you are most proud of?

I think Vauxhall And I was a great moment for me, in the growth of my musical playing and the blossoming of my song writing.

From the other artists you have worked with, what is your strongest memory?

There’s a few!
I really enjoyed the tour I did with Edwyn Collins, playing keyboards and Alto sax was a good workout for the brain.
The recordings I did with 50s rockabilly legend Ronnie Dawson showed a side to my playing I didn’t know existed.
Seeing Adam Ant back on stage at the Roundhouse to a sell out crowd was a proud moment.
Playing the T.Rex song ‘Cosmic Dancer’ with David Bowie at the LA Forum has to be up there somewhere.

How has the ‘music industry slump’ affected what you do?

Not with regard to shows but Morrissey is unable to secure a record deal so we haven’t made a record in a few years, despite having an arsenal of new material.

Any new music recommendations for us?

I have been working with some interesting people recently, Skinny Lister are a breath of fresh air, Eugene Mcguinness is a young man with a fine voice, Sonny Green a young poet more knowledgable than his years would suggest.

What are you mainly working on at the moment?

After a few Polecats gigs in October I am presently writing away, including some songs for Vortex Express, I have a few DJ dates coming up, including a few in the States around Xmas

What are you drinking?

Rombauds filter coffee, it’s 10am!

Thanks, Boz

Cheers

Photo by Darren Ryan

via Sean Bw Parker God Is In The TV http://www.godisinthetvzine.co.uk/2013/10/31/interview-boz-boorer/

Rocksucker: EXCLUSIVE: Cornershop’s “Velvet in Furs” playlist in honour of Lou Reed

Rocksucker

Cornershop duo Tjinder Singh and Ben Ayres compile a Lou Reed/Velvet Underground-inspired playlist for your delectation

EXCLUSIVE: Cornershop’s “Velvet in Furs” playlist in honour of Lou Reed appeared first on Rocksucker. Visit Rocksucker for more music news, reviews and interviews.

via Rocksucker http://rocksucker.co.uk/2013/10/exclusive-cornershops-velvet-in-furs-playlist-in-honour-of-lou-reed.html

God Is In The TV: Teaser: The Flaming Lips – Peace Sword(Open Your Heart)

flaminglips

There is a God after all no doubt playing synths on this the latest from Flaming Lips. Out on digital via Bella union this Monday (that’ll be the 4th of November note takers) and released on limited slabs of wax in December where it’ll arrive on 12 inches of smoking vinyl all housed in ‘dazzling LIPSian’ gatefold sleeves, new Lips single ’Peace Sword (Open Your Heart)’ was per the press blurb written exclusively for Orson Scott Card’s ’enders game’ movie, so smitten by the by book from the which the film was spawned that the band went on to record five more tracks all happily housed on this 6 track EP.

For now the title cut is being aired as a teaser, what can we say, general consensus on the sound cloud message board appears to be awesome and who are we to disagree. Quite something else, sounds as though its descended from above, all celestial showers prided to a symphonic mirage that’s all at once quietly euphoric, ethereal, majestic and bliss kissed whilst embellished with a demurring feel good radiance which in short translates like a trip-a-delic kaleidoscopic magic carpet ride through a landscape colourfully mushroomed in 70’s lounge pop. Exquisite in short. I want one.

via Bill Cummings God Is In The TV http://www.godisinthetvzine.co.uk/2013/10/31/teaser-the-flaming-lips-peace-swordopen-your-heart/

Global: Dave Hill | theguardian.com: Earls Court: Farhia doesn’t want her home knocked down

A mother of four whose home is threatened by a controversial west London redevelopment scheme explains why she fears the demolition of her home

Farhia settled in north Fulham in 1999 after fleeing Somalia’s civil war. Seeking asylum, she was granted indefinite leave to stay in Britain. She was glad to be in London: “It’s a safe place,” she says. Somalis comprise a significant minority of the residents of the West Kensington estate, many of them fellow refugees. Farhia has lived in her flat for eleven years.

Other Somalis from the estate I’ve met largely echoed Farhia’s feelings about the plan of property developer Capital and Counties and her landlord, Hammersmith and Fulham council to knock down the estate and the adjoining Gibbs Green to make way for the Earls Court Project redevelopment scheme: they’d sooner it didn’t happen; if it does, they hope they can depend on the council’s promise to rehouse them nearby.

Farhia’s part of the estate is earmarked for Phase Two of the demolition schedule, which could be several years off if it occurs at all. But her need for stability and security is a recurring theme. With the help of an interpreter, a fellow estate resident, Farhia explained to me that she likes the area, values the friends she has nearby, and is happy with the local schools her four sons attend. The bus service is good too, carrying her conveniently to visit friends in Brixton, Tooting and elsewhere. In most respects she likes the council, praising its quick response when a window was in need of repair.

Her boys, she says, are happy too: one excels at maths, with hopes of becoming an engineer; signs of affection for nearby Chelsea Football Club are evident. What about the council’s insistence that the redevelopment will generate thousands of new jobs, opening up avenues of prosperity for all residents, including the up and coming young? Such improvements would be welcome, Farhia thinks. But why do they require knocking down her home?

Further reading: my timeline of the Earls Court Project and an archive of my coverage of the scheme. Comments are closed on this article.

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via Global: Dave Hill | theguardian.com http://www.theguardian.com/politics/davehillblog/2013/oct/31/earls-court-project-west-kensington-resident

God Is In The TV: Track Of The Day #386: We Are Scientists – Dumb Luck

WAS_BusinessCasual_2_B&W_CREDIT_Dan Monick
Who remembers We Are Scientists? They had a few singles that rippled the edges of the pond from 2006-2008, culminating in their most successful album at the tail end of that. In 2010, their fourth album didn’t really impress too many and yet they are supposedly working on the fifth one right now. That didn’t get me over excited either. However, they have just released an EP entitled ‘Business Casual’ and it’s really quite good so, guess what, here’s a track from it.

via TC God Is In The TV http://www.godisinthetvzine.co.uk/2013/10/30/track-of-the-day-we-are-scientists-dumb-luck/

God Is In The TV: INTERVIEW: Motocycle Display Team

MDT photo

 

Motorcycle Display Team are an agreeably demented trio, fusing the best bits of Maximo Park, Supergrass and Franz Ferdinand. Sean Bw Parker spoke to the band about their debut album ‘Captatio Benevolentiae’, Rupert Murdoch, and charismatic frontman Steve Hinds’ drink of choice: ’Earl Grey, stewed, one sugar’

In Steve Hinds, Motorcycle Display Team have a frontman to rival Jake Spears or Freddie Mercury. In these celebrity-drenched times, what does the band as a whole think of such star-worship?
Steve: I have worshipped my own heroes and I cannot deny others such fancy. Often, gradually, as life changes this worship becomes esteem; respect; and finally nostalgia, regret or merely forgotten. Such is the common trajectory of hero-worship. Only the truly great inspire lasting devotion.
Your debut album is titled ‘Captatio Benevolentiae’, which I’m sure most would agree is a great name. What does it mean and where did it come from?
Steve: It literally means to achieve what it has done by the asking of this question; to catch your attention.
Matt: It’s a Latin term in rhetoric which refers to the opening part of a speech. The idea is to try and get the audience onside at the start of the speech, capturing good favour.
Spotify: good, bad, or ugly?
Morgan: For the most part, I would say good. We listen to lots and lots of music and Spotify definitely enables that. It positively gives the consumers the upper-hand, which is brilliant as record companies have been charging ridiculous amounts of money for music for years. As a band, while we make next to no money from people streaming our music on Spotify, it has allowed a lot of people, that may not have taken the risk on buying our album, to listen to our tunes and this has meant these people came to see us play live. So, while bands are not earning a living from being on Spotify, it definitely opens your audience and leads to other things.
Some word association about well-known pop/rock trios:
Cream: Justin Lee Collins
The Police: Tantric sex with Trudy Styler
The Jam: Taxman
Supergrass: Comic Strip Presents
Wolfmother: Massive sideboards do not the band maketh
Bananarama: Red bodysuit
Bono constantly harps on about ‘relevance’. How important is it to MDT to be relevant?
Steve: What is relevant music? Topical? That’s unnecessary. It’s a relative term. MDT is relevant to us but music that is irrelevant to us is no less important.
How do you see the future of the music industry?
Matt: The days of physical album sales are clearly coming to an end. As online delivery formats such as live streaming and downloads become the preferred method of consuming music, artists will need to take steps to exclude traditional record companies from the process, although I would say that publishing companies will continue to play a major role, dealing with artists directly rather than going through a record company. At the moment, established artists are speaking out about the profiteering by record companies with regards to the revenues from live streaming services; but this is like the desperate and ultimately futile attempts to mine that last seam of gold before the hillside collapses from being undermined.
Once huge numbers of individual artists are able to put themselves in a position to get their music delivered digitally around the world and once direct relationships start being formed between bands and their audiences, the role of traditional record companies will have largely disappeared. This is already starting to happen.
But I think that there is still a role for these record companies to play in terms of churning out unmusical, sensationalist nonsense for mass consumption. But in terms of the mainstream recording industry as a bastion and arbiter of musical taste, those days are rapidly coming to a close.
Morgan: As f**ked as it’s always been. God forbid it becomes a secure environment!
The band has some exposure on British/S*y TV. What would you say are the postive and negative consequences of such exposure?
Steve: We have a new tune called Indelible Ink; a love song of sorts to Murdoch and the complicity of his audience and his competitors in lowering the collective brow. I do not exempt ourselves from this criticism. Which of course makes us hypocrites for participating. This is our quandary: Should we bite the hand that frots us?
The band knows a thing or two about mental illness. Would you mind expanding on this subject for us?
Steve: Thank you for your concern. We would.
What are your immediate plans for the future as a band?
Steve: We’re demoing new tracks. But tonight we jam and try to wring a glimmer of shining golden truth from 3 men in a smelly, cramped, padded room.
Matt: I think we’re going to work on our haircuts more, we’d like to cultivate an image of a band which is somewhat bohemian and vaguely intellectual, but not so much that you wouldn’t want to sink eleven pints of Carling with us and then join us as we march around the centre of town at 2 in the morning bellowing out misogynistic football chants. Once we’ve perfected that I think we are looking to release a couple of singles in the new year and there is talk of another album some time next year, so I would say that we are probably looking to tour in support of the singles and certainly the album, if it happens (which I hope it does).
Any new listening recommendations for us?
Steve: I’ve been stuck on Mac Demarco 2 for ages. Hot Head Show – crazy and tight as Popeye’s watch strap. And anything by The Chap who tower above most bands creatively.
Morgan: The new Anna Calvi album is great, as is the new Janelle Monae. As  much as I love discovering new music, I’m prone to revisit some albums from yesteryear regularly, one such being ‘Fear of a Black Planet’ by Public Enemy. That’s on repeat with me these days. It still sounds brilliant.
What are you all drinking?
Steve: Earl Grey, stewed, one sugar.
Matt: Lidl’s own brand fruit and vegetable juice
Morgan: Coffee

via Sean Bw Parker God Is In The TV http://www.godisinthetvzine.co.uk/2013/10/30/interview-motocycle-display-team/

God Is In The TV: Teeth Of The Sea/Esben And The Witch/Thought Forms – The Exchange, Bristol – 14/10/2013

thought forms october 2013 (12)

Joint tours can often be great value for money, although some gig goers may turn up to find that their particular favourite act only have time for a short ‘support act’-length set. However, no matter what band people are here for tonight, all three groups compliment each other brilliantly while all offering something refreshing and different. Yes, this is the climax to the Quietus-sponsored jaunt around the UK that has seen shamanic drone merchants Thought Forms, and Brighton’s “gothic pop” three-piece Esben And The Witch join the mighty Teeth Of The Sea in mesmerising audiences up and down the country. Throughout the tour the groups have been taking it in turns to headline, and first on at The Exchange tonight are Teeth Of The Sea. 

 

Pairing squealing, otherworldly guitar sounds with hard disco beats, buzzing analogue keys and hypnotic repetitions, the London-based foursome play a tantalising set of doom-prog electro-psych post-rock to a room vibrating with the indescribable music’s dark, ferocious energy. As well as a taste of their earlier material, they treat the audience to excerpts from the terrific new album ‘MASTER’, an apocalyptic cosmic beast of a record where their entrancing musical ideas reach new levels. As the brutal menace of the extraordinary ‘Responder’ sprawls across the final ten minutes of their set, stomping beats clash with vocoders, blaring trumpet and synths that receive an absolute pounding. It all flies by far too quickly, a short taste leaving you in no doubt that their full show would be even more of a wonder to experience. EVERYONE needs to hear this group. Your lives would be poorer without them.



Despite being the most commercially successful of the three bands, Esben And The Witch are the ones that I am the least familiar with. Hearing their songs interpreted in a live setting immediately casts a new light on the group, who are able to create intense, spiralling atmospheres with the aid of impressive dynamics and impressively focused musicianship. Pitch black post-punk moods drift through the venue like a ghostly mist, and the sultry mystery of singer/guitarist/bassist Rachel Davies‘ vocals add to the icy ambience. ‘Smashed To Pieces In The Still Of The Night‘ sees the trio at their very best, closing the set with intertwining guitar patterns and dramatic drum work.



Although Thought Forms are from Melksham (my hometown in Wiltshire), the not too distant city of Bristol seems to have accepted them as its own. Appropriate, since they are part of the Invada Records family, and probably spend most of their time here anyway. So tonight is something of a homecoming for the captivating threesome, who put in a stellar headline set to end the tour on an explosive high. Kicking off with the heaving drone of ‘Landing’, it’s a howling, crushing entrance to roughly 40 minutes of downtuned distortion, high impact contrasts, post-rock soundscapes and vicious guitar treatment. As the beautifully panoramic ‘Ghost Mountain You And Me’ rings out into the night, the other side to the group is showcased, a soaring, shoegaze-esque sound that transports the assembled crowd to a vast, scenic high point far away from these rainy streets of Bristol. Watching the bare footed Deej Dhariwal play is fascinating, turning his attention to his array of fx pedals at the most effective moments, and gently picking out delicate melodic notes one minute before subjecting his strings to a ferocious assault moments later. 



The chemistry and tight-knit alliance between Dhariwal, the super-cool Charlie Romijn and explosive drummer Guy Metcalfe is something truly special to witness both on stage and on record. Tonight they seem louder and fiercer than ever, and yet you could have heard a pin drop during the immaculate opening section of ‘O’, which rages into chaos towards the end after a precise, suspense-fuelled build-up. What a way to end the night. Their recent ‘Ghost Mountain’ LP is an absolute revelation. Seek it out and thank me for my recommendation later.



It’s a fantastic evening of musical pleasures, offering encouraging signs that real alternative music in the UK is alive and creatively thriving away from the conformism of the mainstream. With no commercial expectations or major label pressures to hold them back, these three groups are proving that the independent underground is indeed where the most interesting and potent ideas are coming from. Win, win and win.


via Ben P Scott God Is In The TV http://www.godisinthetvzine.co.uk/2013/10/30/teeth-of-the-seaesben-and-the-witchthought-forms-the-exchange-bristol-14102013/

Digital Inspiration Technology Blog The 15 Most Useful Email Addresses That You Should Save in your Address Book

Most popular websites offer an email interface allowing you to post content on to that site from basic mobile phones that don’t have apps or even a web browser.


This story, The 15 Most Useful Email Addresses That You Should Save in your Address Book, was originally published at Digital Inspiration on 30/10/2013 under Email, Internet

Global: Dave Hill | theguardian.com: London housing crisis: what lies behind the £3m Southwark council house sale?

It’s much easier to be outraged by what the south London council has done than to deal with the housing problems it and most other boroughs in the capital face

The hullabaloo over Southwark Council’s decision to sell a Grade II-listed council home – and its subsequent sale for nearly £3m – crystalises many of the head-hurting issues about the capital’s housing shortage and soaring accommodation costs.

For those who’ve squatted the place in protest, it’s all straightforward. At Comment is Free they declare themselves “sickened” that such a thing could be done when Southwark, like the the rest of London, has a huge housing waiting list and many hundreds of people in temporary accommodation.

But the short shrift they give to Southwark’s promise that the takings from the sale will fund the building of no less than 20 new council homes elsewhere in the borough – essentially, “we don’t believe you” – looks thin in the context of that borough’s wider housing policies and the financial constraints that it, along with most others in London, operates under.

Like similar polemic inspired by the sad, messy saga of the Heygate estate it obscures the fact that Southwark has the largest amount of council housing for rent in London (39,000) and the largest programme for directly building more of it – the borough aims to construct 1,000 new council homes by 2020. Yet that number looks pretty puny set against the amount of council housing that has gone from London in recent times.

At present there are more than 400,000 council dwellings in the Greater London area, accommodating about one in eight households and accounting for the bulk of social housing of all kinds. That’s high compared with the rest of the country, yet the Smith Institute think tank calculates that 290,000 council homes have been lost to Right to Buy alone since 1980. Its housing experts told a London Assembly committee earlier this year that simply replacing those would, at current rates of investment, take 72 years and cost £45b.

With some 380,000 people on waiting lists for London council homes, the size of the task facing boroughs who want to build is clearly huge. They also face exacting choices about spending on building and on the upkeep of the properties they already have. As the University of Westminster’s Duncan Bowie put it in a paper for the committee:

Boroughs with significant estate regeneration programmes which are underfunded may consider completing these schemes as a greater priority than providing additional affordable housing supply.

And the expense of maintaining some existing stock is huge, particularly of some of the system-built blocks (“they are in a mess, a lot of them,” is how the Smith Institute’s director put it).

There are enormous cost pressures in the system. Southwark’s critics accuse it of clearing council tenants out of the most expensive parts of the borough nearest the centre of town in order to make way for “the rich” and that doing so contributes to the “social cleansing” of the poor to London’s fringes and low value enclaves. Point half-taken, up to, well, a point. But would those up in arms about the sale of one dilapidated property in a high value location care to explain to 20 households on Southwark’s waiting lists where £3m for the borough’s housing budget should come from instead?

Meanwhile, the misnamed and dysfunctional “affordable rent” regime imposed by the government on housing associations, the other main providers of social rented homes, is putting even greater pressure on councils to meet the needs of their least wealthy residents.

This is fraught territory, heaving with unbearable dilemmas and unhappy compromises. The politics at work are emotive: use of the term “social cleansing” by defenders of council housing has become almost as promiscuous as that of “subsidised” by its enemies and would-be reformers.

There are, though, some islands of consensus. London Councils, the London Assembly, Shelter and even Boris Johnson – at least on paper – are united in believing that councils should be allowed more freedom by central government to borrow against their assets to build more homes and take better care of what they already have.

Not every estimate is as optimistic as that of London Councils, which has calculated that being allowed to raise £1.4b would pay for 54,000 homes over the next five to seven years, but everyone agrees that a significant contribution could be made.

The roadblock here seems reinforced by ideology. London Tories who have influenced national policy – notably some close to the Mayor such as Stephen Greenhalgh – see social housing as an irredeemable social ill, one that, quite literally, takes up valuable space that would otherwise be flowed through by virtuous market forces. In his co-authored Localis pamphlet on social housing, Greenhalgh mocks the concept of tailoring supply to housing need as “as nonsensical as proverbial production figures for Soviet tractor factories.”

All that said, council housing should not be confused with paradise. Those waiting lists are frightening, and many council tenants want to stick with their present landlords. It should, though, be admitted that for many it’s a case of better the devil they know. Given a realistic, attractive alternative how many would turn it down?

Arguments for preserving and increasing council housing would be the stronger for allowing that too much of London’s present stock is poor and extremely expensive to keep up, and that even the most well-intentioned boroughs have to make difficult trade-offs between competing priorities and cannot magic money out of thin air.

Given the scale of London’s cost of living crisis, every social rented home is precious. Those who live them should be empowered and respected, not pushed around. But should every brick be sacred for all time?

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via Global: Dave Hill | theguardian.com http://www.theguardian.com/uk-news/davehillblog/2013/oct/30/what-lies-behind-southwark-3m-council-house-sale