Artist: The Discocks
Genre(s):
Rock: Punk-Rock
Discography:
Long Live Oi!
Year: 2001
Tracks: 10
Gorgoroth
Monday, 30 June 2008
The Discocks
Artist: The Discocks
Genre(s):
Rock: Punk-Rock
Discography:
Long Live Oi!
Year: 2001
Tracks: 10
Gorgoroth
Wednesday, 18 June 2008
Rave new world
There are many things people like doing at raves: dancing, drinking and telling bricklayers from Croydon that they're going to best friends forever, to name just three. Now add to that list: solving international mysteries.
This summer, clubbers can take part in the White Island, an alternate reality game (ARG) that runs across club events, gigs and festivals throughout Europe.
For those not hip to these modern things, an ARG is an online game based in the real world, which allows players to join forces in order to solve puzzles, collect clues and basically just run around a lot looking confused. The twist with the White Island is that it's all based around the clubbing experience, and the organisers have roped in a load of prizes, big venues and top DJ names.
Pete Tong, who started the whole thing off when his Essential Summer tunes were "stolen" in Ibiza this weekend, is certainly enthusiastic. "The White Island brings together Ibiza's top clubs and DJs and the clubbing experience across Europe and wraps them in an innovative new format ... it's taking clubbing to a whole new level." It's also described by the company behind it as "the most ambitious ARG ever attempted" - although, let's face it, they're hardly likely to say they knocked it out over breakfast now, are they?
And whereas the PR brains have been hard at work selling the whole package as the "rave version of Lost", it does lead us to an interesting question: if Lost is hard enough to get your head around in the first place, what's it going to be like when you're surfing out of your tiny little mind on rave biscuits?
See Also
Monday, 16 June 2008
New Puritans dish out abuse
Some of us like being abused. It’s what keeps horror movies, rollercoasters and alarmingly spicy foods popular.
A penchant for pain can dictate musical taste as well. On Monday, These New Puritans, a quartet from Southend-On-Sea, England, came to Great Scott to give a taste of the rudeness some fans crave. Too bad the room was barely half full when the whipping finally got under way.
Frontman Jack Barnett wore a jacket of golden scales that accentuated his already birdlike appearance, but he’s no feathered friend: no reassuring smile, no lighthearted banter. Instead, These New Puritans delivered a barely 40-minute set of sharp, shocked songs that mixed unrelenting bitterness with a vague sweetness.
Barnett and bassist Thomas Hein used their heavily accented, nasally congested speak/singing to militantly bark orders. Repetition reigned supreme. Their approach recalled Talking Head David Byrne’s vocal style, but These New Puritans weren’t nearly as playful.
Whether they intended any of this to be funny is anyone’s guess. The singles “Elvis” and “El Papier” were met with the most enthusiasm, the latter a study in contrasts between mumbled confusion and chanted clarity.
In the end, the Puritans’ mix of martial beats and programmed synth chaos was saved by the driving drumming of George Barnett (Jack’s twin brother) and Hein’s relentlessly thick bass lines. Keyboardist Sophie Sleigh-Johnson succeeded at looking beautiful and bored, adding the necessary bit of sexual tension to the band’s aloofness. Indeed, at no point did the foursome seem to seek the approval of the audience. And, somehow, that made These New Puritans more appealing.
Despite an early show of support for Cambridge electro-trainwreck Passion Pit, the room had emptied substantially by the time These New Puritans came on. Perhaps Passion Pit frontman Michael Angelakos’ wounded wailing had supplied all the abuse the crowd could handle.
THESE NEW PURITANS, with PASSION PIT at Great Scott, Allston, Monday night.
A penchant for pain can dictate musical taste as well. On Monday, These New Puritans, a quartet from Southend-On-Sea, England, came to Great Scott to give a taste of the rudeness some fans crave. Too bad the room was barely half full when the whipping finally got under way.
Frontman Jack Barnett wore a jacket of golden scales that accentuated his already birdlike appearance, but he’s no feathered friend: no reassuring smile, no lighthearted banter. Instead, These New Puritans delivered a barely 40-minute set of sharp, shocked songs that mixed unrelenting bitterness with a vague sweetness.
Barnett and bassist Thomas Hein used their heavily accented, nasally congested speak/singing to militantly bark orders. Repetition reigned supreme. Their approach recalled Talking Head David Byrne’s vocal style, but These New Puritans weren’t nearly as playful.
Whether they intended any of this to be funny is anyone’s guess. The singles “Elvis” and “El Papier” were met with the most enthusiasm, the latter a study in contrasts between mumbled confusion and chanted clarity.
In the end, the Puritans’ mix of martial beats and programmed synth chaos was saved by the driving drumming of George Barnett (Jack’s twin brother) and Hein’s relentlessly thick bass lines. Keyboardist Sophie Sleigh-Johnson succeeded at looking beautiful and bored, adding the necessary bit of sexual tension to the band’s aloofness. Indeed, at no point did the foursome seem to seek the approval of the audience. And, somehow, that made These New Puritans more appealing.
Despite an early show of support for Cambridge electro-trainwreck Passion Pit, the room had emptied substantially by the time These New Puritans came on. Perhaps Passion Pit frontman Michael Angelakos’ wounded wailing had supplied all the abuse the crowd could handle.
THESE NEW PURITANS, with PASSION PIT at Great Scott, Allston, Monday night.
Paul McCartney Back In The (Former) USSR
Paul McCartney [ tickets ]'s June 14 free concert in Ukraine's capital, Kiev, was the biggest ever in the post-Soviet republic, British newspaper The Guardian reported. The historic gig at Kiev's Independence Square was shown on giant screens in five cities across the country--reportedly in an attempt to promote unity in the bitterly divided region; the deep political divisions between the orthodox pro-Russian east and the Catholic pro-European West were further inflamed due to Ukraine's recent application to join NATO.McCartney took the stage in the midst of torrential rain, lighting and thunder, beginning his set with The Beatles' "Drive My Car," followed by a series of Beatles' songs, inevitably including "Back in the USSR." According to The Guardian, McCartney told the crowd, "I've been waiting a long time to say that."
Irish stars honoured at British Film Awards
John Carney, the writer/ director behind 'Once', and 'Atonement' cinematographer Seamus McGarvey were amongst the winners at the British Film Awards.
Carney took the prize for Most Promising Newcomer in the awards designed to honour the British film industry, despite the fact that he is Irish.
Armagh's Seamus McGarvey was one of three winners for 'Atonement', which also took prizes for costume design and production.
In the other categories Helena Bonham-Carter was named best actress for two performances - in 'Sweeney Todd: The Demon Barber Of Fleet Street' and low-key drama 'Conversations With Other Women'.
Irish citizen Daniel Day-Lewis won best actor for his role as a Texan oil prospector in 'There Will Be Blood'. The performance has already earned him a Golden Globe and he is hotly tipped for Bafta and Oscar glory later this month.
Julie Christie, also a front-runner for Oscar success with 'Away From Her', received the Alexander Walker Special Award for outstanding contribution to film.
Joy Division biopic 'Control' was the surprise winner of the best film award, beating 'Atonement' and 'There Will Be Blood'. It also won best screenplay.
Radiohead guitarist Jonny Greenwood received the best film score award for 'There Will Be Blood'.
Carney took the prize for Most Promising Newcomer in the awards designed to honour the British film industry, despite the fact that he is Irish.
Armagh's Seamus McGarvey was one of three winners for 'Atonement', which also took prizes for costume design and production.
In the other categories Helena Bonham-Carter was named best actress for two performances - in 'Sweeney Todd: The Demon Barber Of Fleet Street' and low-key drama 'Conversations With Other Women'.
Irish citizen Daniel Day-Lewis won best actor for his role as a Texan oil prospector in 'There Will Be Blood'. The performance has already earned him a Golden Globe and he is hotly tipped for Bafta and Oscar glory later this month.
Julie Christie, also a front-runner for Oscar success with 'Away From Her', received the Alexander Walker Special Award for outstanding contribution to film.
Joy Division biopic 'Control' was the surprise winner of the best film award, beating 'Atonement' and 'There Will Be Blood'. It also won best screenplay.
Radiohead guitarist Jonny Greenwood received the best film score award for 'There Will Be Blood'.
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