Archive for January, 2010

01
Jan
10

The 00s, The Noughties, The Decade In Music

I didn’t really want to attempt a list of my favourite albums of the decade – the list for this year alone was more work than I needed. Instead, I decided to hit some of the ways this decade dealt with music – how technology has changed the musical landscape further, what globalized capitalism has done to the music industry, and what media convergence did to help out. Then as a second part, I thought I should add some of my musings on the decade as far as my own musical development goes – after all, I became an adult in the 00s.

Once you’re done here, visit this excellent site put up by The Indelicates: The Noughties Were Shit. The post about Gary Barlow poised to take over the world was particularly enlightening.

1. Web 2.0 and Music
I suppose this point actually affects all the other points in one way or another. Technology has continued the major upheaval begun in the 90s with MP3s and Napster, and has now proved there is no going back for the music industry. The MP3 file has changed the nature of music and the way it is consumed in a completely McLuhanesque fashion. It made music infinitely clonable and portable, aspects which led to the rise of the iPod and the spectacular decline of the record industry. Now music is disjointed and serendipitous by shuffle functions while being omnipresent and essentially valueless (at least in the capitalistic sense). The MP3 has shown us what art becomes when it is immediate and free.

Whilst Napster and its variations like LimeWire created the new rhizomatic gift-giving structure in MP3 file sharing, torrents have taken it to a whole new level of decentralization. And now 99% of the music/films/TV you want is up for the taking. This fact in tandem with the rise of online shopping makes me quite surprised that all record shops haven’t just folded, although many of them have in this decade.

The advancements of Web 2.0 have also heralded the birth of the MP3 blog and its attendant aggregators and podcasts. It has become ludicrously easy to set up your own blog and utilize free file transfer/storage sites to upload music for others to sample. The upshot has been a severe fragmentation of markets and escalation of taste wars while also a fantastic break from traditional music press. And in spite of a nasty rash of Blogger DMCA takedown notices, there have also been some really positive outcomes that proved the power of fandom, including this year’s Paul Haig Day, which was arranged by JC of The Vinyl Villain. Arguments over intellectual property and copyright laws in a digital world will continue to rage on, and I will follow them with fascination (who better to keep you posted on things of this nature but Cory Doctorow and his team at Boing Boing). Of course, no doubt MP3 blogs will suffer/are suffering the same fate as all countercultures. If you survive long enough, you end up as part of the establishment. It’s a bit Batman that way.

As we increasingly became a “peep culture,” social networking came into the forefront with sites like MySpace, Facebook, Twitter and last.fm. You could define yourself strictly by taste and choose your “friends” accordingly. And then ignore them in real life. Just as importantly, now any band could have a website with minimal work and funding. They could also market themselves directly to the type of people they conceived as fans through as many channels as possible. Combined with the technological capabilities of recording software, anyone could produce and market their own music, which is good and bad. Bands who wouldn’t have made it on a mainstream label, but who had a cult sound worth hearing, could get their music our there; unfortunately, many more mediocre bands clogged up the Internet with their soul-sucking tripe, making it a hard slog through cyberspace to find the music you actually liked.

The Internet imploded the world into solipsistic niches, which ceased to feel the collectiveness of mass-mediated moments. Even news of Michael Jackson’s death shattered into millions of pieces as everyone wanted to be the one reporting rather than receiving. Live 8 couldn’t be what Live Aid was to the 80s. The global village is taken for granted and too much access to information and entertainment has made us fairly lazy and impatient. Is music still the universal language? I suppose so, but it’s also become something to be hoarded and collected indiscriminately, as meaningful as soundbites for many people. And with music built directly into communication devices, it has become integrated into our fragmented lifestyles.

Related Posts:

The Medium is the Music: An Essay on Digital Music
This Is the Industry, But For How Long?: Thoughts on the State of Music Today
Of Resurrected FOPP and the Importance of a Real Record Shop
MP3 Blogs vs. Music Blogs: Different Purposes?
Has the World Changed Or Have I Changed?: Musings on the New Musical Express Train to Nowhere
MP3 Blogs vs Music Blogs: Part II
iTunes & I
Does NME even know what a music blog is?: The rhetoric and social meaning of MP3 blogs
The Pirate’s Dilemma: Selling Out is the New Cool
Sound the Last Post, Then Unite and Take Over
New IAMX Album Leaks and Chris Corner Reacts
Twitter-Pated: Music and Information Overload
Michael Jackson, Media Convergence and The Decline of the Global Superstar
A Monkey Wrench in The Hype Machine: Music Marketing and Integrity
Everyone’s a Critic: Fandom and Subculture
The Non-Interview: Music PR in the Blogosphere

2. Fan Investment in Musicians
In a rather positive turn of events, it has now become possible for fans to have a direct impact on the musicians they love by investing in albums before they are produced. Artists, including Einstürzende Neubauten, Patrick Wolf, frYars, and Morton Valence, have allowed their fans to buy shares of future albums to fund production costs. These artists have then rewarded their shareholders with various freebies and exclusives along with a right to some of the record’s profit. It cuts out the label middleman, which I think is a step in the right direction.

Some other bands decided that more was definitely more and added further value to their music and ethos by diversifying their art. One of my favourite discoveries of the decade, The Indelicates, have sold books of their poetry, tickets to a musical they’re involved in, art prints, and even fudge. This rather multidisciplinary approach to music is fantastically refreshing and holds fans’ interest while waiting for new album releases.

With a different twist on the new value of music, Radiohead decided to make their In Rainbows album available for whatever you deemed it should be worth this decade. Although it’s quite a forward-thinking idea, it isn’t exactly as feasible for bands who are not called Radiohead.

Related Post:

The “New” Music Industry: frYars and Bandstocks

3. Decline of the Music Video
Throughout my childhood and teenage years, the music channel played mostly music videos, live performances or interviews with musicians. Frankly, I’m not entirely sure what music channels play anymore, but I know it’s not really music. It’s not even like they’re playing the expected mass-marketed tripe that I would expect on a music station; they’re playing teen dramas about rich kids, reality shows about rich kids, and programs about kids competing to become celebrities, and thus rich. I reckon the marketing model for music has changed quite drastically since the 80s and their MTV heyday; as with much advertising now, products need to be more quietly and deeply entrenched in other products to be marketed effectively. No more blatant streams of music videos/ads for bands. Now you just have to make sure your music gets into the television shows and films of your target market. You want disaffected indie kids, get your music on a film like Garden State. You want romantic emo kids, get your music on the latest vampire product. You want to appeal to the shallow emotions of middling women with no imagination, play your song in a particularly heartwrenching scene of Grey’s Anatomy. Or you could just get Apple to use your music in an iPod promo.

YouTube, which started up four years ago (as unbelievable as that seems), changed the television landscape forever (along with DVD box sets of course). You could now watch music videos literally on demand and without other ads in between. Albeit the halcyon days of YouTube are also over and not every music video is available, nor are they ad-free anymore thanks to the Google takeover. And artists like Prince decided fans are the enemy, prohibiting any of his videos to be uploaded anywhere. However, YouTube has led to a new music video experience, which frees up the music video market for bands who would never have had the clout to get on a television screen. And YouTube sensations could cross into the consciousness of television watchers, which is what happened when OK Go performed their Here It Goes Again video routine for the MTV VMAs.

Related Posts:

I Don’t Want My MTV. The Tweens Can Have It.
If a Gallagher Falls in the Forest, and No One is There to Film It…
Not Down With Prince
A Post-Mortem on Patrick Wolf’s Dead Meat: Music Video For Vulture

4. The Transformed, But Nonetheless Continued Presence of Diabolical Disney Music
The latter half of the 90s saw the massive return on Disney’s investment in ostensibly squeaky-clean popstars, who were raised in their Mickey Mouse Club stables like cute, little, doe-eyed cash calves. These were the years when Christina Aguilera, Britney Spears, and NSYNC were royalty. And just when we all thought they had gone away to morph into the realms of crasser sexuality, we were hit with High School Musical, Hannah Montana and The Jonas Brothers. And they went global. Disney was no longer ubiquitous because of their animated projects, but because they had tapped into the tween market once again. This time, they made sure they used media convergence to its extreme. What these franchises also appeared to be espousing was the doctrine of the 00s: anyone could be a pop star. And they should start early.

5. The Reality Pop Star
It seems difficult to remember a time when there weren’t reality competition shows, especially the Pop Idol/X-Factor-types. Now it’s big business for the advertisers who slap their products and commercials into the programs, and usually brief big business just as an “idol” releases his/her debut album. Then he/she usually fades back into the obscurity from whence he/she came, and the cycle begins again, neatly representing our superficial, throwaway culture while making regular people think they’re entitled to more than they actually are. And all along the way, we had to stare at Simon Cowell’s smug, stump-like head.

Related Posts:

Christmas Number Ones: A Measure of Christmas’s True Meaning
Am I a Music Snob?: A Matter of Taste

6. Guitar Heroes and Rock Bands
Along with the wave of reality celebrity culture, video games like Guitar Hero and Rock Band also made it seem like everyone could be a star. And so we all learned what it was like when air guitar was dumbed down to a series of coloured buttons. I’m not being that critical – it’s more the bitterness seeping out from the fact I still haven’t learned how to play the acoustic guitar I got for Christmas two years ago and the fact I don’t own any video game systems.

7. The Renaissance of Vinyl
Here’s something we should have seen coming. As music grew less and less tangible, and thus, less and less valuable, music fans started looking for ways in which they could get more out of music when paying for it. CDs are pretty obsolete because they offer nothing more than MP3s, which are either rather cheap or free. Vinyl records, on the other hand, offer an entirely different listening experience, and one that cannot be replicated unless you have the capability of producing your own vinyl (not likely). Not only is the sound of analog warmer, but vinyl records also allow you to focus more on albums as wholes, including the larger scope for artwork. Vinyl records aren’t meant to be transportable media; they’re meant to be tied to a particular spot and require a different sort of listening. There was a time when I could only buy used vinyl unless I was in Europe or ordering from Europe; now I can buy brand new vinyl records on the Canadian Amazon shop and in several shops in the city. I hope this trend continues.

Related Post:

Sleeveface: Celebrating The Flipside of Vinyl’s Other Artform

8. Concert-Going in the 21st Century and Ticket-Touting
Along with the online revolution in music came the rather unfortunate rise of online ticket purchasing. No one lines up nor phones ticket lines anymore for gigs. If you don’t have a high-speed Internet connection and presale passwords, you either won’t get a decent ticket to your favourite artist’s show, or you’ll have to pay extortionary prices on auctions to ticket touters or the original ticket highwaymen themselves, like Ticketmaster. Or you may just die of a heart attack in the process. It’s why I favour rush seating gigs, where the spot you get is directly proportional to your leg strength, ability to combat boredom, and sharpness of elbow. What would you need to get a seat in the first to third rows at a seated gig anymore? It’s not a rhetorical question – I would really love to know.

Related Post:

It’s Not Fair: Ticket Sales in an Online World

9. Comedy and Music Became a Cooler Combination Again
This was the decade in which musical comedy duos like The Mighty Boosh and Flight of Conchords gained ascendence. There’s no shortage of older acts that made music funny and comedy musical (Monty Python and Spinal Tap spring to mind), but it’s nice to know that it all gained a surreal airing in the 00s. While both duos are in uncertain places as the decade closes (The Mighty Boosh haven’t said they’ll ever do another series and Flight of the Conchords said they definitely won’t), they provided me with many of my laughs in the last half of the noughties, and many of my catchphrases, too. The duos were delightfully different: The Mighty Boosh was like an intertextual acid mixture of Captain Beefheart and Frank Zappa with increasingly more London hipster thrown in, and Flight of the Conchords was like a monotone chameleon, able to capture any musical genre perfectly while delivering hapless adventure after hapless adventure.

Related Post:

Music Can Be Funny and Comedy Can Be Musical: The Mighty Boosh and Flight of the Conchords

10. Re-Packaging and Re-Fadding: Emo and the (Yawn) Ensuing Moral Panic and Mark Ronson and the (Yawn) Retro Revival
This decade saw the transmogfrication of the genre called emo into something more than merely Sunny Day Real Estate and Dashboard Confessional. If you want a decent history of the subculture (well at least up until 2003), read Andy Greenwald’s Nothing Feels Good: Punk Rock, Teenagers, and Emo. By the end of this decade, emo had come to mean some adolescent subculture obsessed with gothy aesthetics, poppy but melodramatic music, and self-harm. And probably vampires. What’s odd is how we got from emotional hardcore music to Fall Out Boy and My Chemical Romance in the matter of a few years. In the end, emo is just goth repackaged for the ADD digital generation. Gone are the gloomy dirges and swirling sadness of bands like Cocteau Twins and This Mortal Coil; now boys in eyeliner can play pop-punk with extremely long, but no more intellectually stimulating, titles and somehow unite the outsiders in their identical floppy fringey skunk haircuts. Ultimately, emo has come to mean goth lite, which can be easily marketed.

As with all teenage subcultures that adults don’t understand and which get seized upon by the media, emo suffered a strange moral panic by the latter half of the noughties. Parents were nonsensically alarmed at the propensity for self-harm amongst these dissatisfied angsty teens, and for the love of all that is sacred on this Earth, why did they have to stand out from their peers like that? At the end of the day, Morrissey and Richey Edwards would have been emo, but luckily for them, they escaped the tawdry tag before it became popular. People still don’t understand me, but I’m not going to cry about it.

On the other end of the spectrum, another bizarre revival occurred: retro brass sounds, largely the responsibility of Mark Ronson. With Amy Winehouse stumbling in tow and any number of celebrity guests covering songs for him (God forbid Ronson have an original song), this self-satisfied producer added horns to everything and was proclaimed a genius. Bumping along on his bandwagon of manure, were singers like Duffy and Adele. Singer/songwriter Tom Rosenthal (I wrote about him here) expresses the Mark Ronson phenomenon better than I ever could:

Oh, I’m the coolest man in all of the land
And all my friends are famous
And all my songs are bland
I’m akin to a thief
Like yoyos, I’ll be a fad
For I take quite good songs
And I make them bad

And I don’t know if I’m English or American
And if I can win a Brit Award, then anyone bloody can
I’m a glorified DJ
A riches to riches story
I borrow from the talented and I take all the glory

They say anyone’s grandma could do what I do
By putting a different drumbeat on it
And adding a few trumpets, too
But they don’t have my panache
And they don’t have my celebrity mates
And if I ever get round to writing a song,
God, it will be great

The other day I was asked
If I had a motto
I said yes, it’s not what you know, it’s who you know
I’m living proof you don’t need talent to succeed
I’m the George Bush of music
I’m the Prince of the Thieves

Now to my own personal experience of the decade. I should start off by saying that I found it hard to believe it had already been a whole decade – something that it seems most people haven’t noticed nor been too fussed about (aside from one two-part program on the BBC, I haven’t seen all that many retrospectives of this decade). It’s hard to fathom that, at the turn of this millennium, I graduated from high school. That makes these last ten years (supposedly) the most productive part of my life thus far: I got several degrees/diplomas from post-secondary education, I travelled more than I ever had before, I learned much more about the world and about this thing we call humanity, I read books I never thought existed, I got crap retail jobs and finally a proper grown-up job, I made friends, I lost friends, and most importantly of all, I expanded my love of music beyond anything I had in high school. When I think about it, this decade actually quite demarcated my life between adolescence and adulthood (the arbitrary age being seventeen/eighteen years old). For me, this decade was truly one of self-discovery and self-creation. With the same tenacity and interest that I applied to my academic studies, I dove into a music world that I hadn’t been acquainted with through high school (my exposure was generally confined to music television and Top 40 radio). Unfortunately, I didn’t have too many muso friends growing up – in fact, the majority of my friends had very limited taste in music. And my immediate family didn’t really encourage music – my father was the only one who had any sort of musical leanings. So, when I was seventeen, I started the search on my own, equipped with reams of music magazines, books, and new CDs. I didn’t have a computer at home until I started university, and I didn’t have cable Internet access until a few years ago; these facts made my search for music a much slower affair than it might have been, but perhaps it also made it more meaningful.

My magpie ways led me on a winding path that had me appreciating political and intelligent music; the first two bands that I really embraced after high school were The Clash and The Smiths. I absorbed a bit of musical influence from college peers and co-workers, but still made the journey largely on my own, trekking in my spare periods between university courses to the downtown A&B Sound shop and buying copious amounts of CDs to listen to whilst sitting in the university corridors (as all good shops appear to do in this city, A&B Sound closed its doors several years ago and became yet another retail husk in the downtown area). I bought up classics from The Velvet Underground, Joy Division, Kate Bush, Wire, and The Jesus and Mary Chain, alongside newer releases from Gorky’s Zygotic Mynci, Stars, Bloc Party, Idlewild, British Sea Power, and We Are Scientists. I started going to more and more live gigs. And the more I travelled over to the UK and lived there, the more I realized my preference for British bands. The last few trips saw me fill my suitcase and bag with CDs and vinyl.

I listened and I learned – to some people who know me, I became the Rain Man of music. I discovered I’ll never enjoy rap nor metal music. I discovered that I’ll always dislike Bob Dylan. I discovered how much lyrics meant to me. Music made me a more fully-rounded person and a happier person; it supplemented the myriad views of the world that I had also been gaining with books. It gave me something to cling to emotionally and it gave me something I could share with others. And it inspired me creatively. For me, MP3 blogs via The Hype Machine came within the last four years of the decade, and they opened my mind even further to more independent artists, and to the power of fans and DIY culture. Finally, there was something I could do that would allow me to write regularly (I gave up on the dream of a full-time occupation as a writer long ago), and it might even be read by others. Two years ago, when I started writing this blog, I was exposed to even more music and more people, and it was a fascinating learning experience as it became neccessary to try to articulate my thoughts and feelings about music (vigorously pirouetting and waltzing about architecture) and to attain a dialogue with some of the artists I wrote about.

In fact, when I tried to look back at the decade and what it offered in terms of music, I found it rather difficult because I spent a large part of the decade discovering older artists that I had missed out on. I returned to punk, glam, New Wave/post-punk, krautrock, folk, shoegaze, electronica, C86, synthpop, and many of the hyphenated hybrids in between. The only artists salvaged from my adolescent years were David Bowie, New Order, The Cure, Prince, Pulp, Depeche Mode, and Duran Duran, and a few other sundry 80s artists.

When I do actually try to put some perspective on the music that was released in the noughties, it becomes a bit astonishing just how many bands that I take for granted made their debuts. The decade seemed to begin with a violent shift from plastic pop, including boy bands and pop tarts, to legitimate musicians playing their own music, including The Strokes, The Libertines, The White Stripes, and The Hives.

A few years into the decade, the second-wave Brit Invasion happened with bands like Kaiser Chiefs, Bloc Party, Franz Ferdinand, Keane, Maximo Park, Razorlight, The Rakes, The Delays and The Futureheads (to varying degrees of success and longevity). And the most pernicious of all invaders was Coldplay. When I first saw their video for Yellow over in the UK about eight years ago, I never would have guessed their eventual U2-like world domination. And then came the Arctic Monkeys, which seemed like the messiahs people were waiting for after the sloppy, pathetic demise of The Libertines. I enjoyed their first album, but never really went further with them. Then again, a lot of the bands I first liked in the noughties turned out like that.

Along with this British surge in indie bands, I became more aware of Canadian indie artists, which largely coalesced around the Montreal scene. As music press is wont to do, the journalists hailed the largest city in Quebec as the new hotbed of musical activity somewhere in the middle of the 00s (just as they had done with Manchester in the 80s, Seattle in the 90s, and Brooklyn now). The world took note of bands like The Arcade Fire and Broken Social Scene, and suddenly bands with sprawling orchestras were in vogue. I also duly took note of these bands and Stars, which led me to other Canadian bands like The New Pornographers, Hexes & Ohs, Allegories, The Rest, Archivist, The Dears, Metric, Death From Above 1979, The Stills, and many more.

It also seemed Sweden became increasingly adept at producing dreampop bands, each sweeter than the last, and I fell for The Radio Dept., The Mary Onettes, Twig, The Sound of Arrows, The Deer Tracks, Twiggy Frostbite, and Club 8 to name a few.

Additionally, I will remember the decade as the period that introduced Modular Recordings to a wider audience. Though the Australian label was founded in 1998, it really took off with a multitude of Australian electronic acts like Cut Copy, Van She, and The Presets, along with releases from Wolfmother and Bumblebeez. Along similar lines, this decade saw the formation of Kitsuné Music, a French electronic music record label, and at around the same time, Get Physical Music, a Berlin-based label releasing similar music, was established. New York’s DFA Records also came into being at the beginning of this decade. Between these four labels I developed a deeper love for electronic music.

There are too many bands that began their careers in the noughties to list here. Instead, I’ll just put up a handful of tracks that will always remind me of the first ten years of the 21st century (the restriction being that these bands had to have debuted in the 00s.

This is it for me for now. I realize that the Day of 200 Songs still needs to be done, but we’ll see how quickly I can get it out there. It might be some time next week.

Like Eating Glass – Bloc Party

Take Me Out – Franz Ferdinand

That Great Love Sound – The Raveonettes

Wake Up – The Arcade Fire

Somebody Told Me – The Killers

I Bet You Look Good on the Dancefloor – Arctic Monkeys

NYC – Interpol

We Only Stayed Together For the Kids – Luxembourg

The Great Escape – We Are Scientists

We Are Your Friends – Justice vs Simian Mobile Disco

Here It Goes Again – OK Go

Time to Pretend – MGMT

Remember Me – British Sea Power

Lloyd Are You Ready to Be Heartbroken? – Camera Obscura

Mercy – IAMX

Your Ex-Lover is Dead – Stars

You Are the Generation That Bought More Shoes and You Get What You Deserve – Johnny Boy

Giddy Stratospheres – The Long Blondes

Destroy Everything You Touch – Ladytron

All My Friends – LCD Soundsystem

Pulling Our Own Weight – The Radio Dept.

I’ll Be Next To You – Vanilla Swingers

The Modern Leper – Frightened Rabbit

We Hate the Kids – The Indelicates

The Magic Position – Patrick Wolf

Consolation Prizes – Phoenix

Snakes and Martyrs – TV on the Radio

Can’t Stand Me Now – The Libertines

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Gigs Attended

Arcade Fire w/ Bell Orchestre + Wolf Parade (2005)

Arctic Monkeys w/ Reverend and the Makers (2007)

Austra w/ Young Galaxy + Tasseomancy (2011)

Big Audio Dynamite (2011)

Billy Bragg w/ Ron Hawkins (2009)

Billy Idol w/ Bif Naked (2005)

Bloc Party w/ Hot Hot Heat (2009)

Buzzcocks w/ The Dollyrots (2010)

Damo Suzuki (2012)

David Bowie w/ The Polyphonic Spree (2004)

Diamond Rings w/ PS I Love You + The Cannon Bros. (2011)

Diamond Rings w/ Gold & Youth (2012)

Dragonette w/ Ruby Jean & the Thoughtful Bees (2009)

Frank Turner w/ The Cavaliers (2010)

Frank Turner w/ Into It Over It + Andrew Jackson Jihad (2011)

Franz Ferdinand w/ Think About Life (2009)

Gang of Four w/ Hollerado (2011)

Good Shoes w/ The Moths + The Envelopes (2007)

Hot Hot Heat w/ The Futureheads + Louis XIV (2005)

IAMX w/ closethuman (2007)

IAMX w/ Coma Soft + The Hourly Radio (2007)

Interpol (2007)

Janelle Monae w/ Roman GianArthur (2012)

Joel Plaskett Emergency w/ Frank Turner (2012)

Jonathan Richman (2011)

Keane w/ Lights (2009)

Lou Reed w/ Buke and Gass (2011)

Manic Street Preachers w/ Fear of Music (2007)

Manic Street Preachers w/ Bear Hands (2009)

Manic Street Preachers at Wanaja Festival (2011)

Mother Mother w/ Old Folks Home (2009)

Mother Mother w/ Whale Tooth (2011)

Mother Mother w/ Hannah Georgas (2012)

MSTRKRFT w/ Felix Cartal (2008)

Muse (2004)

Nine Inch Nails w/ Death From Above 1979 + Queens of the Stone Age (2005)

of Montreal w/ Janelle Monae (2010)

Owen Pallett w/ Little Scream (2010)

Patrick Wolf w/ Bishi (2007)

Prince (2011)

Pulp w/ Grace Jones, TV on the Radio, The Hives, The Horrors, Metronomy, Devotcka, Vintage Trouble (2011)

Rufus Wainwright w/ Teddy Thompson (2010)

Snow Patrol w/ Embrace (2005)

Snow Patrol w/ OK Go + Silversun Pickups (2007)

Sons and Daughters w/ Bodies of Water (2008)

Stars w/ Thurston Revival (2006)

Stars w/ The Details (2008)

Stars (2010)

Steven Severin (2010)

Stroszek (2007)

The Antlers w/ Haunter (2012)

The Flaming Lips w/ Ariel Pink's Haunted Graffiti (2010)

The Jesus and Mary Chain w/ Nightbox (2012)

The Killers w/ Ambulance Ltd (2004)

The New Pornographers w/ Novillero (2008)

The New Pornographers w/ The Mountain Goats (2010)

The Ordinary Boys w/ Young Soul Rebels (2006)

The Pains of Being Pure at Heart w/ Suun (2011)

The Rakes w/ The Young Knives (2006)

The Raveonettes w/ Black Acid (2008)

The Stills w/ Gentleman Reg (2009)

The Subways w/ The Mad Young Darlings (2006)

Tokyo Police Club w/ Smoosh + Attack in Black (2008)

TV on the Radio w/ The Dirty Projectors (2009)

Yann Tiersen w/ Breathe Owl Breathe (2011)

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The only certain thing that is left about me

There is no part of my body that has not been used

Pity or pain, to show displeasure's shame

Everyone I've loved or hated always seems to leave

Photobucket

So I turned myself to face me

But I've never caught a glimpse

Of how the others must see the faker

I'm much too fast to take that test

The Smiths Queen is Dead

A dreaded sunny day

So let's go where we're happy

And I meet you at the cemetry gates

Oh, Keats and Yeats are on your side

A dreaded sunny day

So let's go where we're wanted

And I meet you at the cemetry gates

Keats and Yeats are on your side

But you lose 'cause weird lover Wilde is on mine

The Clash London Calling

When they kick at your front door

How you gonna come?

With your hands on your head

Or on the trigger of your gun

Photobucket

Charles Windsor, who's at the door

At such an hour, who's at the door

In the back of an old green Cortina

You're on your way to the guillotine

Here the rabble comes

The kind you hoped were dead

They've come to chop, to chop off your head

Photobucket

Then you came with your breezeblocks

Smashing up my face like a bus-stop

You think you're giving

But you're taking my life away

Photobucket

Won't someone give me more fun?

(and the skin flies all around us)

We kiss in his room to a popular tune

Oh, real drowners

Photobucket

Don't walk away

In silence

See the danger

Always danger

Endless talking

Life rebuilding

Don't walk away

Walk in silence

Don't turn away in silence

Your confusion

My illusion

Worn like a mask of self-hate

Confronts and then dies

Don't walk away

Photobucket

You don't want to hurt me

But see how deep the bullet lies

Unaware I'm tearing you asunder

Oh there is thunder in our hearts

Is there so much hate for the ones we love

Tell me we both matter don't we

The Associates Affectionate

I don't know whether

To over or under estimate you

Whether to over or under estimate you

For when I come over

You then put me under

Personal taste is a matter of gender

Photobucket

I wake at dusk to go alone without a light

To the unknown

I want this night inside of me

I want to feel

I want this speeding

I want that speeding

Photobucket

You'll never live like common people

You'll never do what common people do

You'll never fail like common people

You'll never watch your life slide out of view

And dance and drink and screw

Because there's nothing else to do

Vanilla Swingers

All I have is words, words that don't obtain

And I feel I'm a stain on your horizon

So I stay away - it's easier that way

And there won't be no-one I need to rely on

Is it him, is it me

Or is there something only I can see

How did I get here, why do we blow around like straw dogs on the breeze

I'm a special one, what they used to say

But I've to stay on, finish levels-A

You don't need exams when you've read John Gray

The Indelicates American Demo

And nobody ever comes alive

And the journalists clamour round glamour like flies

And boys who should know better grin and get high

With fat men who once met the MC5

And no one discusses what they don't understand

And no one does anything to harm the brand

And this gift is an illusion, this isn't hard

Absolutely anyone can play the fucking guitar

JAMC Darklands

And we tried so hard

And we looked so good

And we lived our lives in black

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Plucked her eyebrows on the way

Shaved her leg and then he was a she

She says, hey babe,

Take a walk on the wild side

Said, hey honey, take a walk on the wild side

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Hide on the promenade

Etch a postcard:

How I dearly wish I was not here

In the seaside town...that they forgot to bomb

Come, come, come - nuclear bomb

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Back when we were kids

We would always know when to stop

And now all the good kids are messing up

Nobody has gained or accomplished anything

Wire Pink Flag

Prices have risen since the government fell

Casualties increase as the enemy shell

The climate's unhealthy, flies and rats thrive

And sooner or later the end will arrive

This is your correspondent, running out of tape

Gunfire's increasing, looting, burning, rape

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Well, maybe there's a god above

But all I've ever learned from love

Was how to shoot somebody who outdrew you

It's not a cry that you hear at night

It's not somebody who's seen the light

It's a cold and it's a broken hallelujah

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And what costume shall the poor girl wear

To all tomorrow's parties

For Thursday's child is Sunday's clown

For whom none will go mourning

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My body is your body

I won't tell anybody

If you want to use my body

Go for it

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Oh it's opening time

Down on Fascination Street

So let's cut the conversation

And get out for a bit

Because I feel it all fading and paling

And I'm begging

To drag you down with me

Mansun Six

And you see, I kind of shivered to conformity

Did you see the way I cowered to authority

You see, my life, it's a series of compromises anyway

It's a sham, and I'm conditioned to accept it all, you see

Japan Gentlemen

Take in the country air, you'll never win

Gentlemen take polaroids

They fall in love, they fall in love

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We just want to emote til we're dead

I know we suffer for fashion

Or whatever

We don't want these days to ever end

We just want to emasculate them forever

Forever, forever

Pretty sirens don't go flat

It's not supposed to happen like that

Longpigs The Sun

There's no perfume I can buy

Make me smell like myself

So I put on perfume

To make me smell like someone else

In bed

Calvin Harris I Created Disco

I got love for you if you were born in the 80's, the 80's

I've got hugs for you if you were born in the 80's, the 80's

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Does his makeup in his room

Douse himself with cheap perfume

Eyeholes in a paper bag

Greatest lay I ever had

Kind of guy who mates for life

Gotta help him find a wife

We're a couple, when our bodies double

Simple Minds Sons and Fascination

Summer rains are here

Savaged beauty life

Falling here from grace

Sister feeling call

Cruising land to land

No faith no creed no soul

Half a world away

Beauty sleeps in time

Sound and fury play

Bloc Party Silent Alarm

North to south

Empty

Running on

Bravado

As if to say, as if to say

He doesn't like chocolate

He's born a liar, he'll die a liar

Some things will never be different

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LCD Soundsystem

Well Daft Punk is playing at my house, my house

I've waited 7 years and 15 days

There's every kid for miles at my house, my house

And the neighbors can't...call the police

There's a fist fight brewin' at my house, my house

Because the jocks can't...get in the door

Johnny Boy

I just can't help believing

Though believing sees me cursed

Stars Set Yourself

I am trying to say

What I want to say

Without having to say "I love you"

Josef K Entomology

It took 10 years to realise why the angels start to cry

When you go home down the main

Your happy smile

Your funny name

Cocteau Twins Bluebell

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Doesn't she look a million with her hairagami set

Hair kisses 'n' hair architecture

Yes, she's a beautiful brunette angel from heaven with her hairagami set

Hair kisses 'n' hair architecture

Augment a beautiful brunette

New Order Power Corruption

How does it feel

To treat me like you do

When you've laid your hands upon me

And told me who you are

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You must let her go

She's not crying

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Baiting

Feeling like I'm waiting

Modern times

Valentines

Hating

Hating to distraction

Just leave them alone

Whipcrack

Girls in the back

Girls in the back

Puressence Don't Forget

They say come back to earth and start getting real, yeah

I say come back to earth and start getting real

I know I can't

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So I walk right up to you

And you walk all over me

And I ask you what you want

And you tell me what you need

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The problem of leisure

What to do for pleasure

Ideal love a new purchase

A market of the senses

Dream of the perfect life

Economic circumstances

The body is good business

Sell out, maintain the interest

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Sitting in my armchair thinking again and again and again

Going round in a circle I can't get out

Then I look around thinking day and night and day

Then you look around - there must be some explanation

And the tension builds

Psychdedelic Furs

India, India

You're my love song

India, you're my love song

In the flowers

You can have me in the flowers

We will dance alone

And live our useless lives

Ladytron Light Magic

They only want you when you're seventeen

When you're twenty-one

You're no fun

They take a polaroid and let you go

Say they'll let you know

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No consolation prizes

Spit out your lies and chewing gum

Cut off your hair yeah that's it!

If you look like that I swear I'm gonna love you more

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All the neighbors are startin' up a fire

Burning all the old folks, the witches and the liars.

My eyes are covered by the hands of my unborn kids

But my heart keeps watchin' through the skin of my eyelids

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Prince charming

Prince charming

Ridicule is nothing to be scared of

Don't you ever, don't you ever

Stop being dandy, showing me you're handsome