As remixed by Akira the Don and featuring Jay-Z, Dizzee Rascal, Bill Hicks and Haulden Caulfeild from Akira The Don’s mixtape, ATD20.

Losers (Tom from Cooper Temple Clause, singer friend, Eddy TM)

Last night I went to the Dan Le Sac vs Scroobius Pip warmup show, and mighty fine it was too…not been to the Borderline before, squirrelled secretly down a side street I’d passed through many times without knowing it was there, quite small so I got quite a close view of proceedings.

First on wass Losers…I’m ashamed I didn’t spot who this was, I’d heard the name but friends on Twitter reminded me this was Eddy Temple Morris’s band with a former Cooper Temple Clause and a drummer…what proceeded was a mashup/glitch/dance/indie crossover, kind of a mix of DJ set including samples of the likes of Gossip, Passion Pit (?), Candi Staton and many others I didn’t recognise – and a few live numbers – I thought the live numbers such as debut single ‘No Man is an Island’ (available free at that link) with a cheeky ‘Losers – Just a band’ drop in the middle – see video clip) were best, but liked the controllerism mashupglitchsampletronica DJ set meets heavy bass and real drums approach. After a quiet start really began to rock the crowd they finished on a cool version of You Got The Love with Candi on vocals…I do think a later slot would do them more justice.

Also blowing my mind was their VJ – rocking some cool animations/video live in sync, seemed to be using a MacBook with what looked like Ableton for video, loads of faders on screen with a small central video panel – any ideas what that was? ME WANT.

So after the warm up Dan Le Sac came onstage with a cheery wave and fired up a wonderfully stuttery ‘The Beat that My Heart Skipped’ and Scroobius Pip arrived, bottle of rose in tow. After some shenanigans involving a too-low keyboard and Scroobius admitted he was bloated and a bit slow due to ‘too much Venison pie’! they then launched into the first of the new songs, ‘Sick Tonight’, which with rapid fire rapping and evil dub/drum and bass bassline and skittery snares it’s a definite progression from Angles.

After that was a mix of oldies and newies – stand outs for me of the new tracks were ‘GB’ a ranty political track that should stoke some revolutionary flames and of course a triumphant ‘Get Better’ (which they reminded us is released as a single March 1st) which I have in full here: (most of the time out of respect for Dan & Dave I decided not to record whole bits, and anyone I hate those cunts who hold cameras and mobile phones aloft for hours at a time getting in the way – I was lucky where I was a pillar was behind me so I wasn’t blocking anyone’s view…I was dancing as well at parts hence the rather shakycam…well if you have a problem with that then you should’ve been there, you lazy fuckers

Oh and GB apparently went wrong providing unintentional humour as Dan said to the soundman straight-faced ‘Great Britain is broken!!!’ – also Dan had a new toy in the shape of a controller and was having fun stuttering, looping and swooping everything so apparently a few technical issues but I didn’t hear any! Loads of intentional humour too – Pip’s on-stage manner is less hiphop braggadacio and more music hall and very dry and arch – you can see why he likes Tommy Cooper.

Another good one was ‘Stake A Claim’ which I can’t remember much more of apart from the fact it was indeed, good and like all the new tracks very uptempo and bloopy (that’s the technical term)…less so was The Beat which as they say in ‘Fixed’ (which they also played) ‘I’m not dissing Dizzee Rascal’ but sounded more closer to a cynical ‘Bonkers’ cash-in ploy than it should coming from those two, rhyming the beat with the feet, just seemed a bit lazy dancefloor filler (in the other sense). They also played ‘Last Train Home’ which was a story about – surprisingly – the last train home to Essex and the slightly dodgy people that you meet, which was OK, could be a grower.

Of the old stuff as well as Fixed they played Angles with costume changes, and a great version of Thou Shalt Always Kill which I have in full on video, and
humorously someone kept requesting Tommy C but they weren’t going to play it so the last track ‘Letter From God to Man’ became ‘Letter from Tommy C to man’! That ended with a total Dan Le Sac knob-twiddling wig out, where it turned into a dance stormer – by then everyone was dancing like crazy.

Overall the new songs sound great – social commentary and conscience but with an uptempo danceable backing…the production seems less mid-range and rock/indie and more deeper, with subbass and rave basses coming to the fore (at least one track was totally a dirty MOAR WOBBUL bassline stomper that would make the likes of Jack Beats and AC Slater happy), sort of a more politically conscious ‘Bonkers’, with skittery beats and glitchy chopping. If there is any justice and going by the reaction to ‘Tongue in Cheek’ it should be massive…

It bodes well for the album ‘Logic Of Chance’ which drops on March 14th, and the tour a week or so later….rilly they should pay me for this promo, but I shall declare my interests in this matter – I think they are a fucking brilliant group who deserve far better exposure. That is all.

I’ve been keeping tabs on the whole NirGaGa Saga, where DJ Lobsterdust’s Nirvana vs Lady Gaga got a Cease and Desist recently from EMI, as well as Bootie for putting it on their Best of Bootie 2009 CD.

I’ll let DJ Lobsterdust describe the timeline in his own words:

september – Nirgaga (Nirvana vs. Lady Gaga) gets posted. GYBOers give it the thumbs down. several online blogs declare it is the worst mashup I’ve ever done. I move on.

a few months later Nirgaga gets played at bootie, the (drunk) punters love it. A+D declare Nirgaga is now a bootie anthem.

early December – the track is featured on the Best Of Bootie 2009 CD. The CD goes viral and gets mentioned in countless mainsteam outlets.

late December – Twitter & Youtube go gaga over the mashup, MTV and the Wall Street Journal mention Nirgaga on their websites. Twitterati claim it’s one of the greatest mashups ever, youtubers demand I be burned alive for making it.

early January – EMI sends me (and also A+D) a Cease and Desist letter, we pull the plug on Nirgaga. The saga ends (for now).

And most interestingly, EFF have now taken an interest – one of the first mashups to do that, if not the first. That is a very good sign.

Anyone who reads/listens to Radio Clash knows my hatred of EMI – long standing due to a C&D I got from them in 2004 for using an official acapella they released (how stupid is that?)…

I have to say (cos I tell it like it is, yes I know but it’s a package deal don’t look like that) the mash itself is merely OK, not a fave of mine for the reason that ‘Smells Like Teen Spirit’ has been mashed to death since it’s release, from Call It What You Want to Tin man and Smells Like Teen Booty and about 9,000 more of the suckers…’Smells…’ will go with most tracks and sadly has been (and I hate Lady Gaga) but if the likes of EFF want to fight EMI over it, I’d more than get behind that.

P.S. I wasn’t one of the GYBO thumbs down people Lobsterdust was talking about though, I like most people hadn’t heard the track until A&D started raving about it Certainly as a mash it polarises opinion, which is a good thing – like the comments I get on the video I did for Earworm’s Radiohead vs Kanye mash, some people think certain acts are inviolate and should not be tarred with the pop brush – here’s some funny examples from NirGaGa’s YouTube page:

this is the worst that someone could do to a great song, fuck ugly lady gaga and her stupid talentless songs!!! The guy who made this should be burried alive

THIS IS MUSICAL BLASPHEMY!!!!

This is the worst thing I’ve ever heard. This should be removed on principal alone!!!

AWFULLLLLLLL!!!!!!!!!!!!!!!!!!

I can’t believe someone would do this to a great Nirvana song!!!!!

But don’t hold back, say what you think – did you like it? LOL.

For that Lobsterdust I salute you – it’s hard to get a true marmite reaction – and I have to say there are quite a few positive responses too…it does seem to be a total love/hate track. Certainly EMI seem to be in the latter category
Oh and EMI would hate for you to click on this link.

As you were all out revelling in the new year (I just got back from Crimes Against Pop listening to Ian Fondue and co. rock the joint), The Kleptones were busy at work sneaking out their new mashup LP ‘Uptime/Downtime’, the follow up to the well-received 24 Hours.

Not listened to it yet, but if Voodoo Sabotage is anything to go by, it will be quality!

P.S. I think Eric must’ve been watching the Bonkers video rather too much with that artwork

No not a list post as I’ve railed against before; just a review of the year. You can add random numbers to it if you want, especially if you want it to make less sense. Feel free to then argue the results bitterly in the comments, across twitter and thus the national press who now think if it isn’t on Facebook or Twitter it doesn’t exist, and conversely if it is it must be news. And thus bump up my Google ranking and provide this blog with loads of free advertising…;-)

2009 was the year that:

It sounded BIG and LOUD in a Wall of Sound that probably surrounds Phil Spector in jail – not sure if it was in honour of the jailed frizzy haired freak or just that Glavegas was on sale, but it seemed that claps, Ronnettes style beats and distorted wall of sound a la Jesus and Mary Chain, My Bloody Valentine et al was completely in vogue – from The Big Pink to Pains of Being Pure at Heart and many many more. And others made it their business to sound like they had swallowed either that C86 shoegaze comp (School of Seven Bells, M83, to some extent Pains too even Fuck Buttons),  or the entire Factory catalogue with some Sonics via The Fall for dessert (Horrors). It never sounded so 1988.

Joy made a comeback - it’s usually a dirty word, with looking mopey and clinically depressed being the indie/rock star norm -  but that star-struck and wide-eyed joyous sound you’d usually associate with hippies or strung out folkies (more of that in a minute) became the most appropriate response to the darkness in the world…from Noah and the Whale to Girls, The Very Best to Leisure Society to that damn Florence and the Machine and Flaming Lips and many many more…happy (or at least sounding it) was the new black. Even in dance or more experimental quarters, from M83 to Fuck Buttons to *spit* Animal Collective that big building joyous almost spiritual sound was in. Also sounding like it was from a  long lost John Hughes (RIP) movie soundtrack was a good thing (Phoenix, Passion Pit, many others).

Folk was not a four letter word – with the New Joy (ooh call the IPC sub eds I came up with a new genre!) it seemed the country/folk sound kept going by the likes of Bonnie Prince Billy, Richard Hawley et al was everywhere…from The Low Anthem to Noah and the Whale (of about 5 million Laura Marling offshoots like the Waterboys-molesting and yawnsome Mumford and Sons) and rather belatedly King Blues (well I missed their LP at the end of 08 so it’s a 2009 discovery to me!) and Fleet Foxes who were still around, probably foraging in the bins.

Ukeleles were cool – well they’ve always been cool, but Leisure Society and Noah & the Whale using them to Florence brandishing one on stage and the Ukelele Orchestra of Great Britain’s massive Uke-a-thon at the Proms and millions of Uke videos it did seem like 2009 Year of the Uke to me.

Dubstep went overground – sniffed around a bit, ate a few nuts, went to a rave, then went back underground and changed again. Probably hibernating now, either that or collaborating with The Wombles.

Bloc Party split. No-one really noticed. Ditto Oasis, although sub-eds must fear for their jobs having to look for better quotes in future.

As sure as Kilimanjaro rises like Olympus above the Serengeti, African music was a big influence – from Buraka Son Sistema to The Very Best via Vampire Weekend, Damon’s faves Amadou and Miriam,  and Vamps inspired bands (The Drums is one I can think of on the top of my head, many more out there) – those beats and chiming guitars and vocals were legion.

Beards were big, I blame Fleet Foxes and Bonnie Prince Billy for this…in a nice way! Yay beards!

Someone called Michael Jackson died. Nope. I’m a blank…

Lily Allen did one great song, opened her mouth and put her foot in it again then stormed off. For a change.

Moz was in a coma, I know, I know, it wasn’t that serious. He did pull a few strops though, getting fans chucked out, generally acting the queeny diva he really is.

Steven Wells died. FUCKSTICKS.

Blur and The Specials played again and it was great – no Jerry Dammers, natch, but I got to shake the hand of Don Letts. I iz a happy man.

Peter Mandelson became the most hated man in Britain. Or should be.

Favourite Album of 2009:

Well I’ve gone through most of the best ofs recently, especially the NME and Rough Trade ones – some good ones, but strangely not this album. Maybe cos it’s a remix of a 19 year old album, maybe cos it’s only available at Rough Trade and mostly the Net on limited release, but Saint Etienne’s Fox Base Beta is most definitely my album of 2009. With Richard X at the remix controls, it was back to 1990 in the black cab time-machine to update a rather patchy but important classic with a 2009 sound – and yes his mix of ‘OnlyLove Can Break Your Heart’ is as good as Weatherall’s, yet he rather wisely leaves Nothing Can Stop Us Now alone – if it aint broke, don’t fix it?

Nothing comes close. Well actually few did. Sub Focus’s eponymous debut was the front runner for most of the year, like Chase & Status last year bringing drum and bass, dubstep and even Axwell-style piano rave and wobble basslines to the pop charts and Radio 1…Could This Be Real is not only a great pop tune, it’s a club classic. Way too short though.

The Very Best dominated the end of the year for me…album was a little disappointing but their Mixtape (which is the album’s bonus CD at Rough Trade before people moan it was 2008 or something!) was a brilliantly eclectic and East/West soundclash affair mixing classical music, Architecture in Helsinki, MIA and Vampire Weekend – all of which went on to colloborate with them funnily enough – and Michael Jackson who went and uncollaborated by dying.

Fever Ray took the warmth and energy of The Knife, what little of it was left after Silent Shout, and put it into the cold-hearted glacier that would make the world in ‘Let The Right One In’ proud…moody minimal dancehall if done by someone who’d never been to Jamaica nor heard any and didn’t really dance…with a haunting vocal and minimal synths. No-one sounds quite like Karin Dreijer Andersson and this album is timeless and also sounds completely alone and genreless and thus like nothing else. And thus sound like complete bollocks if you try and describe it.

Peter Bjorn and John – Living Thing - sadly ignored in most lists but compared to the (admittedly good yet overplayed) fluff of Young Folks the darkness and quirkiness of  “It Don’t Move Me” and that video drew me in – and surprised me. This is the sort of electronic dark sound Air or Royskopp should be making, not shamed by those that wrote the whistley annoying one from a few years back.

Passion Pit are a late entry, it seemed to be rather quiet on the indie-dance crossover front this year so they along with Gossip were some of the few holding the side up – loved their Irish folk bothering Sleepyhead (I thought it was Chris De Burgh!) and best use of children since D.A.N.C.E.

Fuck Buttons – Tarot Sport another late arrival but love the electronic shoegaze MBV / post-rock Mogwai feel, it is basically drone rock ala Godspeed You Black Emperor! plus electronics so not everyone’s cup of tea, but real ambient bliss. And the electronic/glitch production is a development over the fairly obvious Street Horrrsing.

Mr B’s album is pure genius, mixing the ukelele with hiphop via ChapHop. It’s 2008 though so doesn’t count. As doesn’t Ladyhawke’s LP. DOH!

And another late contender I forgot to add was Leisure Society’s ‘The Sleeper’ – brilliant album, makes folk joyous and wonderful, even if the subject of the song is sometimes surprisingly dark.

Best Track of 2009

Has to be this – nothing cheered me up and wanted to make me dance like The Very Best’s ‘Warm Heart of Africa’, and more importantly delve into Victor Uwaifo’s back catalogue and do my first remix – like this track. Pure happy African/London/American hybrid mashup genius!

Other tracks: well Charlie Darwin by the Low Anthem was a definite earworm, as was The Drums ‘I Felt Stupid’, the live version of Franz Ferdinand’s ‘What She Came For’ which reclaims the small-gig energy of early Franz which seems a little missing on the album, Hyph Mngo by Joy Orbison displaying where dubstep can go next (ie ditching the rain samples, it doesn’t have to be so dark, etc), The Pains of Being Pure at Heart’s ‘Come Saturday’ bringing fun Ash-style power pop back, Fever Ray’s ‘Keep the Streets Empty’, Sub Focus ‘Could it be real’ proving that pianos and bassline doesn’t always equal cheese, Lily Allen ‘The Fear’ proving not everything she does is either shit or just for attention, Royskopp feat Robyn ‘The Girl and the Robot’ - shame about the album though, “It Don’t Move Me” by Peter Bjorn and John – dark and odd MJ-inspired video that probably gave him the heart attack, Prodigy – Omen and Warrior’s Dance showing how this rave bizniz is done…and French Navy by Camera Obscura is pure loveliness. Ladyhawke – I loved ‘Magic’ and ‘Dusk til Dawn’.

And who can forget probably the biggest get up and dance hits of the year – Dizzee Rascal’s Bonkers and Black Eye Peas – I Got a Feeling, this year’s ‘Low’, whatever you feel about the cheesiness of the track, you cannot deny the joyful reaction. Classic pop.

Best mashups

This is hard for me since I don’t regularly listen to as many mashups as I used to, unless I’m involved in making videos or compilations with them, but Dunproofin was probably the man of the year for quality mashups (again) - bit naughty plugging one of my productions but the reason I made the video for Pjanoo Dance is it’s one of my favourites, if not the favourite of this year. Others that produced stone-cold classics were 10000 Spoons especially his Astley Gone to Heaven, Celebrity Murder Party, Phil Retrospector, djbc’s and DJ Fox’s Fleetwood Mix tracks and Menorah Mashups.

New discoveries were Pogo, CjR, Pomdeter (producing the world’s second Disco Accordion track with Pinky Ring Disco Polka!), okiokinl, DMF for their Bootrospective compilation and Marc Johnce whose Lily Allen 22 vs Lime is still one of my fave Lily mashes.

Favourite video mashes

Well again it’s more people that specific tracks but ThriftshopXL suddenly came back to life this year and was a video mashup machine and I loved his Lily Allen, Cure (even if it did include that annoying Bat For Lashes woman) and Phil n’ Dog bootlegs.

Other video mashers I rated were Pogo, Ricardo Autobahn, rx, Cassetteboy, BorisB, DJ Le Clown, dascottjr with his literal version of Total Eclipse of the Heart, Philretrospector and Reborn Identity who produced a whole DVD of the Mashed in Plastic David Lynch compilation. Good stuff.

I’ll Be There in Twin Peaks from Mashed in Plastic on Vimeo.

And come in at the last moment is Earworm’s United States of Pop 2009. I really didn’t like the last one, but this is a real development, has some really nice touches and is slick, slick, slick, using the cutup techniques that are more Ricardo Autobahn to create a song than yer usual A vs B. Even though I hate some of the terrible source material…but that’s what you get if you challenge yourself to mash the top 25 tracks! Like the Taylor Swift vs Kanye bit

But in retrospect it probably was all about The Bloody, Bloody, Bloody Apprentice. Cassetteboy pwns!

Biggest disappointments

Jarvis’s second LP. How could you? The incomprehensible and 6th-form poetry of Angela didn’t bode well, and the album was crushingly yawnsome and rather desperate rock attempt which left that acoustic/country Richard Hawley produced sound just as it began to get fashionable. Doh!

Bat for Lashes. If I wanted sub Kate Bush/Peter Gabriel Guardian-reader dross, I’d kill myself, not listen to this. What was it and 2009 and awful 80’s MIDI sound Casio-keyboard production? BFL, Little Boots and La Roux, I’m looking at you.

X-Factor like Scientology is still massive and about as good for you.

3 strikes law annoyed everyone; G20 violence and police hitting people randomly, world is still terrified of it’s shadow and the ridiculous Pantsbomber terrorists hiding in it, of course.

Not getting to Glastonbury and Bestival AGAIN this year for the 100th year running, Gah. I would like to go at least ONCE before I die…

It’s all a bit meh, really

The Horrors LP. Best LP of 2009 according to NME. The Most Obviously Derivative But Not Even That Good according to me. It’s not terrible – like the Krautrock meets acidy bleeps of Sea Within a Sea, but really it does sound like they swallowed the whole Factory/Manchester back catalogue, from A Certain Ratio attempting Krautrock to baggy to The Fall copying The Sonics. So far so good if not exactly original influences – but with one-flaw sub-Wedding Present/sub-Ride songwriting abilities. Nice producer, shame about the band.

Yeah Yeah Yeah’s idolatry. Yup ‘Zero’ is good, brilliant bassline, rest of the LP is fairly boring, the acoustic versions actually sound better than the produced tracks…definitely didn’t follow the brilliance of ‘Zero’

Dirty Projectors – Bitte Orca. One word: Terrible…maybe Noah’s Whale should eat them up.

Air’s LP, and Royskopp’s LP. Just mehness incarnate.

Future of the Left. Sorry At the Drive In was nearly 10 years ago now. Rage was nearly 20. We don’t need a unpoliticised version babbling what you think are, like,  ‘Gang of Four’ but are actually inanities that make Wire seem positively on point…Arming Eritrea? WTF? We do need a politicised and on-point band in said mold, though.