Apple's recent strife around iOS 6 and now its latest senior management kerfuffle has got me thinking that I might leave the 'walled garden' when the opportunity next presents itself. It seems to me that Apple hardware, especially its phones, has peaked at the 4. I have a 4S, and Siri is clearly a bolt-on new feature designed to boost sales in the wake of a new chassis or genuinely innovative additions to the phone.
Now that Jobs is no longer barracking everyone involved and driving them to excel, it seems that the company have lost a little internal momentum. Jobs said there was no need to do 7in tablets, and I have a feeling that if he were still around, Apple wouldn't be joining the fray in that space. They have built a reputation on thought leadership: the reason the iPad is bigger than 7in is because of the superior user experience at that size (although why it's not widescreen is beyond me). Following every Tom, Dick and Harry into an already saturated and 'low-rent' market is a backward step, and one that Apple devotees, used to 'their' company leading the way, will be concerned by.
I love Apple, have owned every iPod since their launch and have worked in Apple-centric media in my time. I would never buy a PC, and all my music and movies are on Apple's platforms. I still feel that their current range of laptops is an order of magnitude greater than everything else avaialble, in terms of usability, UX, build quality and reliability. I held off from buying an iPad, though, because for the first time in ten years I couldn't see the piont of an Apple product. When my contract is up next year, I will be going to an Android phone and tablet, and hope to be woo'd back. Apple creates so many brilliant things, I'm sure it won't be long.
EDIT!
Like I said, yo. "The decision to dump Google's maps for its own, and the changes at the top of the company to eject Scott Forstall and John Browett point to a subtle downward trajectory"
Tuesday, 30 October 2012
Wednesday, 10 October 2012
Radiohead live @ the O2: Nothing to Fear, Nothing to Doubt
So, Radiohead were pretty awesome. Lots of new material as expected, and an airing for lesser-known songs like These Are My Twisted Words, which they played the last time we saw them at Reading in 2009. The intro of Everything In Its Right Place contained a few verses of The One I Love by REM - a tribute to one of Radiohead's musical touchstones, who split up this year. Here's Reckoner. Warning: Thom's voice is /absolutely ridiculous/.
They're a subtly different band than they were the last time I saw them - the addition of Portishead and Tricky collaborator Clive Deamer on second drums added considerable heft to In Rainbows-era tracks like Weird Fishes. And with a CV like that, he's no doubt a real song-and-dance man to have on the tourbus, too. The version of !5 Step at the O2 seethed in a way I've always thought the recorded version should have done. See?:
And then, of course, there's Mr Greenwood. Taking time out from casually composing Oscar-nominated minimalist film scores and frightening avant garde Polish classical composers in their eighties with his Ondes Martinot, he was on spectacular form. Johnny's influence is all over how the current 'version' of Radiohead work - one minute he's hopping about behind a nest of keyboards and various bits and pieces during the opener Lotus Flower; the next he's frantically waving at his brother Colin (Radiohead's 'rhythm' guitarist) to get him more involved in the first few songs. I read the other day that Johnny's even programmed a piece of software that allows other members of Radiohead to 'scratch' takes they put down in the studio, DJ-style, and compose in an entirely new way. He does this kind of thing because he's a floppy-haired, rail-thin, multitalented Fucking Genius.
At times it's as if Jimi Hendrix has been given the keys to the BBC Radiophonic Workshop, and told to being his favourite oscillators and synths to a Radiohead show, and just mess about with them. In football parlance, Johnny is the difference on the night. He even bowed his guitar Jimmy Page-style at one point - a trick I have to try one day.
As for the gig itself - I hated the venue: big, echoey, and transparently devoted to commercial opportunities rather than ensuring that the events it stages are good or not. Sadly a sign of things to come, I think. Also, typically for a big London show, it was full of old blokes who can't tell the difference between a pause between songs towards the end of the set, and the end of the show, because they only go to one gig a year. I never thought watching Radiohead would be punctuated by the sight of men in their middle years heading up the aisles under the mistaken assumption that it'd finished, only to scamper lumpenly back once another song started.
Anywho, Radiohead played:
Lotus Flower
15 Step
Bloom
Kid A
The Daily Mail
Myxomatosis
Climbing Up the Walls
The Gloaming
Separator
These Are My Twisted Words
Like Spinning Plates
Nude
Identikit
Karma Police
Feral
Idioteque
Encore:
Pyramid Song
Staircase
Morning Mr. Magpie
Weird Fishes/Arpeggi
Reckoner
Encore 2:
Give Up the Ghost
They're a subtly different band than they were the last time I saw them - the addition of Portishead and Tricky collaborator Clive Deamer on second drums added considerable heft to In Rainbows-era tracks like Weird Fishes. And with a CV like that, he's no doubt a real song-and-dance man to have on the tourbus, too. The version of !5 Step at the O2 seethed in a way I've always thought the recorded version should have done. See?:
And then, of course, there's Mr Greenwood. Taking time out from casually composing Oscar-nominated minimalist film scores and frightening avant garde Polish classical composers in their eighties with his Ondes Martinot, he was on spectacular form. Johnny's influence is all over how the current 'version' of Radiohead work - one minute he's hopping about behind a nest of keyboards and various bits and pieces during the opener Lotus Flower; the next he's frantically waving at his brother Colin (Radiohead's 'rhythm' guitarist) to get him more involved in the first few songs. I read the other day that Johnny's even programmed a piece of software that allows other members of Radiohead to 'scratch' takes they put down in the studio, DJ-style, and compose in an entirely new way. He does this kind of thing because he's a floppy-haired, rail-thin, multitalented Fucking Genius.
At times it's as if Jimi Hendrix has been given the keys to the BBC Radiophonic Workshop, and told to being his favourite oscillators and synths to a Radiohead show, and just mess about with them. In football parlance, Johnny is the difference on the night. He even bowed his guitar Jimmy Page-style at one point - a trick I have to try one day.
As for the gig itself - I hated the venue: big, echoey, and transparently devoted to commercial opportunities rather than ensuring that the events it stages are good or not. Sadly a sign of things to come, I think. Also, typically for a big London show, it was full of old blokes who can't tell the difference between a pause between songs towards the end of the set, and the end of the show, because they only go to one gig a year. I never thought watching Radiohead would be punctuated by the sight of men in their middle years heading up the aisles under the mistaken assumption that it'd finished, only to scamper lumpenly back once another song started.
Anywho, Radiohead played:
Lotus Flower
15 Step
Bloom
Kid A
The Daily Mail
Myxomatosis
Climbing Up the Walls
The Gloaming
Separator
These Are My Twisted Words
Like Spinning Plates
Nude
Identikit
Karma Police
Feral
Idioteque
Encore:
Pyramid Song
Staircase
Morning Mr. Magpie
Weird Fishes/Arpeggi
Reckoner
Encore 2:
Give Up the Ghost
There There
The One I Love
Everything In Its Right Place
Monday, 8 October 2012
Live Tonight: Radiohead @ the O2
Cor - what larks. Currently on a rail-rattler on the way to the Greenwich SpaceWok to see Oxford's finest with Mr Mitchell, who casually announced he had a spare with my name on it after we met him and Shaun for drinks the other night.
Not the ideal way to preface what's sure to be a loooong day at work in Leatherhead tomorrow, but hey - gotta take these chances when they come up. Feel a bit pone about leaving T with the post-holiday shambles that is our house too, but as I say, gotta do it.
Haven't seen Radiohead since the epochal Reading show in 2009, an the promise of new material is too good to miss, really. They're just so damned good at doing... whatever it is they do. It's kind of an honour to see them to be honest.
I have always subscribed to the view that they are as significant musically as Pink Floyd. Might sound overblown, but what a big gap in modern music they would leave if they were all of a sudden popped out of existence. You don't get Paranoid Android, or anything like it, from anyone else. The National et al have their moments, but there is only one Jonny Greenwood. Amen.
Not the ideal way to preface what's sure to be a loooong day at work in Leatherhead tomorrow, but hey - gotta take these chances when they come up. Feel a bit pone about leaving T with the post-holiday shambles that is our house too, but as I say, gotta do it.
Haven't seen Radiohead since the epochal Reading show in 2009, an the promise of new material is too good to miss, really. They're just so damned good at doing... whatever it is they do. It's kind of an honour to see them to be honest.
I have always subscribed to the view that they are as significant musically as Pink Floyd. Might sound overblown, but what a big gap in modern music they would leave if they were all of a sudden popped out of existence. You don't get Paranoid Android, or anything like it, from anyone else. The National et al have their moments, but there is only one Jonny Greenwood. Amen.
Men of England
To be fair, whereas this article basically proves how poor England are at present, I don’t think we could seriously be expected to go any further in the competition. We did pretty well, generally. Performance wise, we were OK, but the more encouraging things are the intangibles: I like the attitude of the team, I liked the way we defended in formation, and the manager’s more of a realist than the last two were. I don’t like Lampard, generally, but I thought we missed his drive, and if we ever dare to put Oxlade-Chamberlain, Walcott, Wellbeck and Carroll on at the same time, we are an attacking force of sorts.
I have to say I think Wayne Rooney, as an international footballer, is over. Too slow by half, he looked well off the pace throughout, and didn’t create anything of note – one tap-in aside. It’s difficult to reconcile the reputation with what England get from him on matchdays. I can’t imagine him winning a match for us against a last-eight side. Walcott and Oxlade-Chamberlain both have real pace, however, and might just do that.
In other news, we went to see this yesterday at the ENO: http://www.eno.org/see-whats-on/productions/production-page.php?itemid=1885
Amazing. Hard work, being an opera – albeit one in English – but the staging, lights, performances and general otherworldliness of it were brilliant. Plus, Damon Albarn is basically incapable of doing wrong in my book, and seems to be turning into his generation’s answer to David Bowie. He really does have a fearsomely creative mind, that man. He has a sort of ‘chorus’ role, and spends the whole performance perched on a step at the side of the stage in a leather jacket and jeans, singing 10 or so songs throughout. The music is provided by Albarn on acoustic guitar, and a band of medieval instruments, African stringed things and a jazz drummer.
The Better Half and I are considering going on different holidays this year. Don’t fret – she wants to go rock-climbing, canyoning and various other active things that trigger my fear of heights, and I might just go to the lake district and do a residential guitar course, or something. Could be a laugh, either way. I have also been asked to join a Stone Roses tribute band on bass here in London, which is a noisy and entertaining way to spend Thursday nights in my book.
Blogging on the go - bound to work :)
Given the astonishingly flaky nature of 3G and the fact that I craft these words from the back of a coach on the M4, this might fail horridly, but you never know. Here goes, etc.
Fuck me. What a week. Broke the front door on Tuesday [actually the enquiry into an incident surely to be dubbed Doorgate in years to come is still awaited, but we're going for a Wear and Tear defence at this stage] and lost the fucking back door keys the same night! Unbelievable Jeff!
Cue much shouting and hollering which has of late been resolved, unsurprisingly, by Tam, who ordered a temporary lock via the web. Had to wait for that to arrive this morning, head into work to do something relatively pointless for KBR, then batted it over to Vicky Coach Station to get on the FunBus to Swindoom.
Another bus to Brinkworth will follow, wherein I'm going to lurk in a locals' pub and be collected by T. The total cost of this journey is still only going to be £8. No worries. More later.
Fuck me. What a week. Broke the front door on Tuesday [actually the enquiry into an incident surely to be dubbed Doorgate in years to come is still awaited, but we're going for a Wear and Tear defence at this stage] and lost the fucking back door keys the same night! Unbelievable Jeff!
Cue much shouting and hollering which has of late been resolved, unsurprisingly, by Tam, who ordered a temporary lock via the web. Had to wait for that to arrive this morning, head into work to do something relatively pointless for KBR, then batted it over to Vicky Coach Station to get on the FunBus to Swindoom.
Another bus to Brinkworth will follow, wherein I'm going to lurk in a locals' pub and be collected by T. The total cost of this journey is still only going to be £8. No worries. More later.
More on Projects
The essential problem with creativity is its transient. I can't get things done because there are too many things to do, too many things to complete, more things that need starting, and still greater piles of unsorted, scrappy ideas knocking around in the dusty corners of life. Because of this, completing projects is rare.
So, I need to tidy my head up a little. I need a couple of long-term goals, a couple of short-term goals, and one to achieve by the end of the week.
Jeez, I think a spreadsheet is in order...
x
So, I need to tidy my head up a little. I need a couple of long-term goals, a couple of short-term goals, and one to achieve by the end of the week.
Jeez, I think a spreadsheet is in order...
x
The Problem With Ideas
The main difficulty one has with the idea of writing a novel is the physical act of writing a novel. There is nothing to write about; nothing in my head, unless I look for it. Most of the time, though, I don't know where to look. So a circular process starts: want to write, can't write.
Story Pitches (one line)
A girl and her cat are befriended by a unicorn from another dirmension who is convinced that the little girl is his own world's lost queen.
A man wakes up hungover in a side-street in downtown Seoul with no recollection of how he got there. On his wrist is the word 'Jemima'. In his back pocket, a receipt from a nightclub with the words '£23m, 1800' and tomorrow's date. What does he do?
A man is befriended by his future self in the carraige of a train on a long journey. The older man is on the run, and needs to borrow something from his past to return to their future.
The internet, banking and IT records of the Western world were accidentally erased by a careless student on work experience at Cisco, causing the collapse of Western society and an unforeseen run on formerly niche items such as hessian and all-weather trousers.
Jubilee
So, the Queen’s job is still safe. Good news. Very much enjoyed hanging around on a soaking wet riverbank waiting for Her Maj to pootle past, and the various festivities laid on in Battersea Park were good fun, too. Miraculously, The Other Half managed to win some serious doshmoolah on a vintage one-arm gambling apparatus, and according to another contraption designed to reveal my worth and age on death, I am to father 12 children and be cold in the ground at 60. This kind of schedule will be news to the Other Half, but hey, God loves a trier.
Saw a documentary on John Cooper Clarke the other night. Life-affirming stuff. I think I might compose some performance poems and take to the stage.
HA.
Amores muchas x
Shuddering Pretension
Have just re-read the post below, and realise that I've actually become one of those snobby hipsters. What a pretentious cockend. Oh well, at least there's now a name for my 'musical' 'project' there...
Onwards!! :-s
Onwards!! :-s
Projects
Igad, it's early. 0730 is no time to be messing about at work while you're supposed to be in bed. Long story short, Someone Important had to be up early, and I thought 'why not?'. Turns out there's very little reason why not, as early mornings are pretty cool. Well, they would be, had I not just schlepped a mile and a half in the sun carrying Someone Important's luggage for them.
Anyway, lots of projects on the go at the moment, personally. Music, writing, a film-editing course in the next month. It's all good. The music side of things is my favourite waste of time at present - having created over 100 little bits of bits and pieces in the last year, I've probably now got 20 I'm happy to promote. The last 10 or so, which have more of a Bop/Oneohtrix Point Never/Emeralds thing going on, I'm confused about. I read something the other day (and for the life of my now can't remember where it was) that said that Boards of Canada-indebted, 'hazy' music - which is how I'd best describe my stuff - is actually heading for a lot of attention. I can believe that, given the amount of press given to the likes of Oneohtrix - who won Pitchfork's Album of the Year prize, and has had the oxblood-trousered among us positively tenting with excitement thanks to his sporadic remixing work). There's several reasons to really like this nascent scene.
It's Home Made
Labels like Warp, 4AD, Software etc put out work by people with little more than some oscillators, a tape machine, some fucked guitar effects and a youtube account. Then of course there's the fact that it's more about 'layers' or 'screes' of sound than melody per se - this music is designed for, and is brilliant at, evoking a mood, a time and, specifically, memory, either accurately recalled or not, of a time long past.You can almost hear the dust. Because it's put together using (often free) bits of software such as GB, and the new wealth of oscillators, synths and 'random' music generators out there, but then mixed with considerable skill, basically anyone with a computer and enough samples can do it. It's a democratic, open-source and entirely welcoming area of an often prohibitively costly genre.
There Is No Right Answer
You can do what you like with this kind of approach. Don't fancy singing? Don't bother. Bored of verse/chorus/verse? Don't have any. Ideas stretch and mould around beats, snippets of dialogue, snippets of snippets of radio hiss, tape echo and the like, creating a style I've read described as 'hypnogogic' and 'hauntological'. Bit wanky, that last one, but you get the piont. I just call it hazy, as it reminds me of half-remembered bits of dreams etc.
The First Person to Put A Decent Tune Out In This Style Wins
Imagine if, say, Burial were to produce Miles Kane's next album, or Flying Lotus (whose output is already all over Radiohead's radar, clearly) was to do Florence Welch or Kasabian's next one? What kind of hellish, cool-as-fuck chart-based randomness would ensue? Obviously it wouldn't happen that way - DJ Shadow, FlyLo, Oneohtrix et al are already well-known to the sinister pop hitmakers of this world, so we can expect boiled-down, Bat For Lashes-esque stuff to appear in the next few months. But a genuine collaboration between a large mainstream act and one of these people? Christ. I'd buy that. Why not?
What does all of this mean for my stuff? I don't really know. I'd like to finish the demos I've been working on, then arrive at a 'greatest hits'-style complilation of the last two phases of work so that there are 15 songs that are great, rather than 30 that obviously need trimming down. I'm then torn between just finishing with them or then adding vocals, traditional instruments and the like to these 'beds' - forming them into more recognisable song structures. Much more work, possibly involving a session singer, but an interesting next step anyway.
Another option is to package up the best bits, design a brand/logo/visual presence/website etc, and stick it on bandcamp. This route would lead to the need for live performance etc, which is problematic, as I don't know how that would really work in practice.
Answers on a postcard...
Anyway, lots of projects on the go at the moment, personally. Music, writing, a film-editing course in the next month. It's all good. The music side of things is my favourite waste of time at present - having created over 100 little bits of bits and pieces in the last year, I've probably now got 20 I'm happy to promote. The last 10 or so, which have more of a Bop/Oneohtrix Point Never/Emeralds thing going on, I'm confused about. I read something the other day (and for the life of my now can't remember where it was) that said that Boards of Canada-indebted, 'hazy' music - which is how I'd best describe my stuff - is actually heading for a lot of attention. I can believe that, given the amount of press given to the likes of Oneohtrix - who won Pitchfork's Album of the Year prize, and has had the oxblood-trousered among us positively tenting with excitement thanks to his sporadic remixing work). There's several reasons to really like this nascent scene.
It's Home Made
Labels like Warp, 4AD, Software etc put out work by people with little more than some oscillators, a tape machine, some fucked guitar effects and a youtube account. Then of course there's the fact that it's more about 'layers' or 'screes' of sound than melody per se - this music is designed for, and is brilliant at, evoking a mood, a time and, specifically, memory, either accurately recalled or not, of a time long past.You can almost hear the dust. Because it's put together using (often free) bits of software such as GB, and the new wealth of oscillators, synths and 'random' music generators out there, but then mixed with considerable skill, basically anyone with a computer and enough samples can do it. It's a democratic, open-source and entirely welcoming area of an often prohibitively costly genre.
There Is No Right Answer
You can do what you like with this kind of approach. Don't fancy singing? Don't bother. Bored of verse/chorus/verse? Don't have any. Ideas stretch and mould around beats, snippets of dialogue, snippets of snippets of radio hiss, tape echo and the like, creating a style I've read described as 'hypnogogic' and 'hauntological'. Bit wanky, that last one, but you get the piont. I just call it hazy, as it reminds me of half-remembered bits of dreams etc.
The First Person to Put A Decent Tune Out In This Style Wins
Imagine if, say, Burial were to produce Miles Kane's next album, or Flying Lotus (whose output is already all over Radiohead's radar, clearly) was to do Florence Welch or Kasabian's next one? What kind of hellish, cool-as-fuck chart-based randomness would ensue? Obviously it wouldn't happen that way - DJ Shadow, FlyLo, Oneohtrix et al are already well-known to the sinister pop hitmakers of this world, so we can expect boiled-down, Bat For Lashes-esque stuff to appear in the next few months. But a genuine collaboration between a large mainstream act and one of these people? Christ. I'd buy that. Why not?
What does all of this mean for my stuff? I don't really know. I'd like to finish the demos I've been working on, then arrive at a 'greatest hits'-style complilation of the last two phases of work so that there are 15 songs that are great, rather than 30 that obviously need trimming down. I'm then torn between just finishing with them or then adding vocals, traditional instruments and the like to these 'beds' - forming them into more recognisable song structures. Much more work, possibly involving a session singer, but an interesting next step anyway.
Another option is to package up the best bits, design a brand/logo/visual presence/website etc, and stick it on bandcamp. This route would lead to the need for live performance etc, which is problematic, as I don't know how that would really work in practice.
Answers on a postcard...
50/5000 and Other Unrealistic Targets
Jesus, projects, eh? They're like buses - buses full of work. Anybother, I have decided that I am going to write 5,000 humourous words on 50 topics, by way of secretly writing two amazing books.
Just because I can. And obviously plot, write, and with The Better Half's help, design a book for Violet by the end of August. Crikey.
The Better Half - not for the first time - said I 'wasn't interested in many things' the other day, which hurt. Fuck that - I'll show her.
Still proud of self after manging 19.6 miles in 1 hour 6 mins on a bike in the gym yesterday - with a calorific cost of 715, no less. Can't do much more than that really. Still not smoking, either.
Had another email from a guy who I got in touch with about a Stone Roses covers band. I was originally really keen, but am now less so, as I have had a practice and realised I'm shit, and also facebooked the guy and he looks like a killer. Might just duck him, I think.
Just because I can. And obviously plot, write, and with The Better Half's help, design a book for Violet by the end of August. Crikey.
The Better Half - not for the first time - said I 'wasn't interested in many things' the other day, which hurt. Fuck that - I'll show her.
Still proud of self after manging 19.6 miles in 1 hour 6 mins on a bike in the gym yesterday - with a calorific cost of 715, no less. Can't do much more than that really. Still not smoking, either.
Had another email from a guy who I got in touch with about a Stone Roses covers band. I was originally really keen, but am now less so, as I have had a practice and realised I'm shit, and also facebooked the guy and he looks like a killer. Might just duck him, I think.
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