If there is a musical act I like more than Radiohead, it is Autechre. The release of Autechre’s new album, Quaristice, bears some resemblance to Radiohead’s attention-grabbing In Rainbows release. It also bears a lot of the hallmarks of my predictions / observations about the apparent future of the music industry which I wrote about earlier this month.

I has already been known for a while that a new Autechre album was due out on 3 March. But on Tuesday it was announced via an email to subscribers to the Warp Records newsletter that Quaristice was available to buy as a digital download immediately.

This is the second time in as many months that Warp has sprung a surprise. They did it last month by releasing Clark’s Throttle Promoter EP with no prior warning, along with the announcement of a new album, Turning Dragon, just a month away. It is a pleasant change given that Warp seem to like announcing an album several months in advance and switch the publicity machine into overdrive (and the recorded music industry wonders why people just illegally download albums instead of waiting).

Of course, I had to buy it straight away. Unfortunately, Bleep was struggling to cope with demand. After spending far too long trying to get the zipped download to work, I eventually resorted to laboriously downloading the album track by track. The whole process took over three hours. Ironically, it would have been a lot quicker and easier — not to mention cheaper — to just illegally download it.

On top of the immediate digital release, a limited edition version of Quaristice was announced. This is interesting because Autechre have never had a ‘limited edition’ version of one of their albums released alongside a standard edition. I don’t know if that was because Autechre didn’t like the idea or if Warp thought it wouldn’t be worth it. But whatever, this move seems to back up the observations I made a few weeks ago — the limited edition is becoming much more important for the recorded music industry.

The limited edition Quaristice sounds swish. It comes with a second CD of alternative versions of tracks from the album housed in a rather luxurious-sounding package:

The double CD set comes in a Designers Republic styled, photo-etched, 0.4mm steel slipcase with foil blocked inner gatefold wallet.

It comes at an equally luxurious price — £24.99. And postage is £5! Limited to 1,000 copies, it sold out really quickly, so I feel lucky that I didn’t hang around like I often do. I speculate that they could have easily sold 5,000.

The MP3s cost £6.99 (if I had opted to go for the lossless Flac files (which I didn’t because they are not iPod-compatible), it would have cost £8.99). As such, I have spent £36.98 on Quaristice — almost as much as the £40 Radiohead ‘discbox’.

Before In Rainbows I had never spent anything like £40 on an album. Now I have done it twice in the space of a few months. What a sucker. Who said it was impossible to make money from recorded music any more?

All-in-all, it is a very clever move by Warp. I have bought every Autechre album that’s ever been released for around a tenner. With a couple of sly moves they have managed to just about quadruple that. And judging from the trouble I had downloading it and the fact that the limited edition sold out so quickly, it has happened at least a thousand times over. The accountants at Warp must be happy today.

(Needless to say, I will be reviewing Quaristice when I get the chance.)

The music? Yes, okay.

The lyrics? A few bad lines — some dodgy rhyming and one particular line which is in a mixture of the past and present tenses. But over all it is fine fine.

But those lyrics with that music? Is it not a slight clash of tone?

Maybe it’s just me. I have never heard anyone else comment on this. It does seem to have been a stupendously successful song. ‘About You Now’ is Sugababes’s biggest selling single ever, which is not bad going for a group that popular.

But every time I hear it, it infuriates me a little bit more. The lyrics are quite melancholic and downbeat. It would probably have made a really good ballad. But the actual music is really jumpy and upbeat. It’s actually difficult to imagine how it could possibly have sounded any happier. It is as though they did a remix version and then decided the remix sounded better, forgetting that it is a completely inappropriate tone for those lyrics.

It reminds me of the original theme tune for The Fast Show.

A lot of people are scratching their heads about the FIA’s latest plan when it comes to race stewards. One of the most common complaints you will hear an F1 fan make is that the decisions made by the stewards are not consistent enough. For the past couple of years there has been a permanent steward, Tony Scott-Andrews, who has presided over every race alongside two others who are appointed on a race-by-race basis.

The presence of a permanent steward greatly improved the image of the process. Although there were still perceived inconsistencies, you couldn’t really lay the blame on anything in particular because of Tony Scott-Andrews, who most seem to agree did a good job.

Tony Scott-Andrews has decided not to continue in the role in 2008. So what would you do if you were the FIA? Would you continue the successful scheme of having permanent, independent stewards? Or will you hire a lackey?

Of course, you are not President of the FIA. Unfortunately, Max Mosley is. And so apparently his good buddy Alan Donnelly “will be involved in the process”, alongside three stewards who will be appointed on a race-by-race basis.

The three stewards will be “neutrals” in that they won’t come from the same country as anyone else involved in F1. Given that nationality shamefully played such a big role in the Hamilton / Alonso hoo-ha last year, this is understandable. But I can’t help but worry that it means the best people for the job will be overlooked.

The real worry though is that Alan Donnelly will apparently have a major influence in the decision-making process this year. According to GrandPrix.com:

If Donnelly takes up a role as the permanent F1 steward it is going to be very hard for him to establish any credibility as an independent. This in turn will reflect on the FIA and will not help improve the perception - whether true or not - that everything is controlled by Mosley.

The problem is that while Donnelly is clearly an intelligent and capable individual he has been a close ally of Mosley for eight years and before that worked with the FIA President as a member of the FIA-funded Automobile Users Group at the European Parliament. Today he is paid as an FIA consultant.

And Sidepodcast has revealed more:

His company Sovereign Strategy currently list Formula One Management Ltd as a client. It’s not hard to imagine the sport’s commercial interests being taken into consideration when looking at future rule infringements…

Of further interest a quick perusal through the Internet Archive, sees Sovereign Strategy at one time listing Ferrari as a previous client…

It’s not clear when the Italian manufacturer was removed from the client list (the archive displays the page as recently as June 2007), but one could speculate it was probably very recently. One also wonders whether the Scuderia have completely severed ties with Sovereign, and what bearing that may have on future ‘difficult’ decisions?

So the new permanent steward is not only an FIA / Max Mosley lackey, he is a Ferrari lackey as well! But this should come as no surprise given that FIA stands for Ferrari International Assistance and all.

In all seriousness, this is the last thing Formula 1 needs. At a time when so many people see Max Mosley as wielding too much power over F1 (to put it very politely indeed), to have a chum of Mosley’s become the new permanent steward is a recipe for disaster. Worse still, when so many people see the FIA as blatantly favouring Ferrari, is it really so wise to bring in a man whose company very recently listed Ferrari among its clients, one position below the FIA (Max Mosley’s organisation) and two above FOA (Bernie Ecclestone’s company)?

Max Mosley is truly in cloud cuckoo land. He must realise that this move is highly provocative. It will not be long before people start pointing fingers and suspecting bias.

The FIA has a major image problem among F1 fans as I recently pointed out. It is worrying enough that Max Mosley should install someone with such blatant Ferrari links in a position of such authority. What is even more worrying is that Mosley no longer even seems to be interested in pretending that the FIA are not just a bunch of Ferrari lackeys.

The sooner Mosley is replaced, the better. He is a rotten man who brings far too much politics into Formula 1 just because real politics was a no-go area due to his lineage. After the events of last year, more politics is the last thing F1 needs. But given this provocative appointment, it is obvious that Mosley doesn’t give a damn about this fact.

So “Sir Trevor McDonald” (it is illegal to say ‘Trevor McDonald’ without putting ‘Sir’ in front of it) has just completed his second gruelling week back at the helm of the resurrected News at Ten. It doesn’t seem to have worked for ITV.

They’ve made a big fuss about how they are bringing back an institution, even though they killed if off in the first place so that it wouldn’t get in the way of the football or something. And they are making a big deal about how Trevor McDonald is back presenting it while keeping quiet about the fact that they spent years shunting him around various scheduling back-alleys in the ignominious “News at When?” days.

I don’t even get all of the fuss about Trevor McDonald. Everyone goes on about how he’s the country’s favourite newsreader. I don’t get it. His delivery is wooden and robotic. His is like one of those voices that blind people have to put up with on their screen readers on their computers. And have you ever seen him smile? I haven’t.

So if it seemed like his heart wasn’t in it originally, imagine what it must be like now! He thought he had finished with all of these late nights. Now he is being paid £1,633 per minute to deliver the news in his odd staccato drawl.

And that brings up the next thing that’s wrong with News at Ten. It is so painfully obvious that he refused to come on board if he had to do all the heavy lifting. So the bulletin is shared with Julie Etchingham. Presumably they couldn’t use Mark Austin (how pissed off must he be about all this?) because having two male presenters would be, like, so gaaay or something. As if doing it (the bulletin, I mean) with someone young enough to be your daughter is any less perverse.

But since when was the “heavyweight” late-night bulletin double-headed? This must be the first time it’s happened. I thought the point of having two people presenting the news was so that you could have all of that cringeworthy banter during the light moments, which is why until recently they had two people presenting the Six O’Clock Tabloid News, which is all light moments apart from the faux Daily Mail-style scaremongering bits at the start.

But News at Ten is not meant to have banter, except for the ‘and finally’ bit, but there is only one ‘and finally’ story so there’s not much space for banter there. No, Julie Etchingham is just there so that poor Trevor McDonald can save his breath. He now only speaks for around three minutes per programme apparently.

Then there is this monstrosity.

“This is the news!”

All I can say is, it must have been fun to be that timpani player.

ITV seem to think that reviving News at Ten would give them credibility, gravitas and prestige. But it has actually highlighted many of its major weaknesses. It’s just quick fix after sticking plaster.

Throw money at a problem. Bring in a big name star. Remix the theme tune to the point that it becomes self-parodying. Use overly-flashy computer graphics which make it look more like the deck of the USS Enterprise than a newsroom.

The fact is that ITV News is still rotten. It is focussed too much on gimmicks and sensationalism. It doesn’t matter how much of an ‘institution’ the title of the programme and its main anchor are. If the programme is rubbish, people will not watch it.

That is why by the third day of the new run of News at Ten it had lost a third of its viewers and remained over 2 million behind the BBC Ten O’Clock News. Which has no gimmicks at all.

There is some exciting news from Last.fm. I have been in love with that website ever since I signed up back in 2004, and there is now yet another reason to love it.

As of today, you can play full-length tracks and entire albums for free on the Last.fm website.

Something we’ve wanted for years—for people who visit Last.fm to be able to play any track for free—is now possible. With the support of the folks behind EMI, Sony BMG, Universal and Warner—and the artists they work with—plus thousands of independent artists and labels, we’ve made the biggest legal collection of music available to play online for free, the way we believe it should be.

Beforehand, you could only play a select few tracks in full for free — and to be honest, they were mostly rubbish. Now all four major labels as well as 150,000 indies are on board letting people listen to their music for free on Last.fm. Millions of songs are now at my fingertips.

Okay, so the music is not completely free. Once you’ve listened to a track three times, you will be blocked from listening to it again until you pay up. But complaining about this would be churlish. Even if you approach it as a kind of ‘try before you buy’ service, this is much, much better than anything that has come before.

For me, this is the day the recorded music industry has begun to face the music (excuse the pun). There have been signs of them facing up to the reality of a world with the internet. But even, for instance, their plans to sell DRM-free MP3s through Amazon was as much an attempt to derail Apple’s dominance in the digital download arena as anything else.

No doubt there will be questions about the financial viability of this. The BBC report on the announcement certainly adopts a slightly sniffy, sceptical tone.

It certainly feels strange, coming just a couple of weeks after Pandora closed its similar service in the UK on the basis that the labels were making it too difficult.

Both the PPL (which represents the record labels) and the MCPS/PRS Alliance (which represents music publishers) have demanded per track performance minima rates which are far too high to allow ad supported radio to operate…

But that is pretty much the model that Last.fm is adopting:

We’re not printing money to pay for this—but the business model is simple enough: we are paying artists and labels a share of advertising revenue from the website.

Today we’re redesigning the music economy.

How can Last.fm make it work if Pandora couldn’t? It is true that Last.fm has big backing in the form of its owner, CBS. But if it’s not financially viable, it’s not financially viable, right?

Maybe there is more to this, or there is something I’m missing. Leaving the Pandora issue aside, it looks as though something big has happened today — as though someone’s banged a gong and the majors have all woken up to what’s going on. And they’ve agreed to finally do something sensible about the situation. Today music became even cheaper, and we all became a bit richer.

Well, last year I looked at some reissues as well, so I thought I’d do that this year as well. I wasn’t joking when I said I might not get this list finished until February. This is in alphabetical order.

Seefeel — Quique (Redux Edition)

This is nice. This forgotten shoegaze / techno crossover classic got a re-release for seemingly no particular reason. Not even an anniversary. If they’d waited until 2008 they could have done it for the fifteenth anniversary. I guess that for whatever reason they felt like the time was right to reissue it last year.

Scottish readers may be wondering, and I can confirm — this album’s title rhymes with ‘keech’. But the music itself is anything but.

This ‘redux’ edition comes with a full second CD of lost extra goodies. Tracks that inexplicably never made an album as well as alternate versions and remixes come included. My particular favourite — of both discs — is ‘Clique’. Why did this not make the album? It should have been a single!

Quique has a gentle ambient approach, like a wall or ocean of sound. I personally prefer the heavier, darker, more industrial sound of their follow-up, Succour. But Quique is nevertheless a fine album, and I’m happy to have picked up this double disc joy.

The Knife — Silent Shout (Deluxe Edition)

I missed this one first time around. Wasn’t quite interested enough. But when it was re-released as a three disc package I went for it. Maybe I was right first time round.

It’s actually a fairly good album. There are some good tunes. But I was disappointed. Given the rave reviews the album got, I very much found it a damp squib. Good to listen to from time to time though.

Maybe part of the problem is that I already knew one of this album’s tracks quite well. For that reason it suffers from that problem where one song seems to tower over the rest of the album. Even knowledge of this problem hasn’t prevented me from feeling a bit disappointed though.

The new extra discs give me much the same feeling. One is a DVD of a concert performance (An Audio Visual Experience) and all of The Knife’s videos. The other is a CD with the audio of the concert performance.

On CD it sounds quite good. About the same standard of Silent Shout. But watch the DVD and it just looks a bit ridiculous. It is about as live as Princess Diana. The vocals seem to be live, but that other guy clearly doesn’t know what to do with himself. If somebody is making that music live, it certainly isn’t him.

I’d love to believe that waving a couple of ridiculous looking glowing sticks in a pseudo-rhythmic (and often not even in sync with the music) manner is making all of those sounds. But I get the feeling that that awesome instrument hasn’t been invented yet.

I know that live electronic music is a bit of a grey area. But seriously. I prefer the “look like you’re checking your email” approach. At least that is less pretentious.

I enjoyed the music videos though. I will probably check out some of their older stuff if I see it going cheap somewhere.

White Noise — An Electric Storm (digitally remastered)

Already this has become one of my favourite albums of electronic music. I am absolutely in awe of it. Having read about the techniques used to make it, and just the sheer fact that it was so visionary, I really think this ought to be more famous than it is.

I have already written a suitably gushing review of it. I had forgotten how long it was. All those words and not a single comment! Gah.

That’s yer lot. Incidentally, I have been linking to my original impressions of the albums I have been listing in this series. But there was also a post where I wrote about 12 of them — a kind of mid-year roundup. If you are interested, you can read it here. You will notice that I was actually near enough on time with that one. Ironic really, given how busy I was at the time…

Recently I have noticed a disturbing trend that is making the battle against spam harder. Normally the way you tell a legitimate commenter from a spammer is to check that the comment is on-topic and free of bad links.

Increasingly, I am finding more and more spam commenters whose writing is certainly on-topic. It doesn’t look like it has been generated by a bot. And even sometimes it is a valuable addition to the discussion.

But one thing is wrong. The comment author URL leads to some kind of business / gambling / spam site.

For as long as I think such contributions are beneficial to the discussion, I will allow them. But I will remove the comment author URL if I think it is unsuitable.

For guidance: Comment author URLs may be any personal websites — blogs, Flickr, Twitter, whatever. They may not be business websites or any spammy content.

If the problem continues, I will start throwing the comments themselves into the spam bin as well.

Elsewhere…

In other news, there is an exciting new feature! Well, not that exciting. But if you look in the sidebar you will see that I have ten ‘featured posts’ there. These are older posts that might have slipped your attention.

As time goes on I get more and more stressed about the fact that my lovingly crafted writing drops off the front page so quickly — particularly under this new year regime of daily posting. So there you have it. If you ever fancy reading something a little bit older, start from the ‘featured posts’ section. (And the ‘best of’ section in the navigation above.)

There are only two things in the world that give us absolute total happiness. One is seeing other people fail. The other is unwrapping a newly-bought CD.

–Armando Iannucci

In the wake of all the upheaval that the recorded music industry is facing, a lot of people have been predicting the death of the CD. After all, the very reason why music is cheap or free these days is because they don’t need to be put on a physical object which then has to be transported around the world. Surely digital downloads are the only conceivable future for music distribution.

I don’t like the idea of this. If I was five years younger it would probably make perfect sense to me. Last week’s edition of The Economist tells the story of a focus group that EMI held. It was aimed at understanding yoofs better. At the end of the meeting, the teenagers were invited to take as many free CDs from a pile on a table as they wanted. Not a single person took a CD.

It’s just the latest example of a recorded music industry that has always found it difficult to adapt to new technology. Historically, consumers have gone for the most convenient and cheapest format rather than the technically excellent one. So says Fredric Dannen if you scroll a long way down.

When the long-playing record (LP) format was introduced by Columbia Records back in the late 1940s, the industry as a whole resisted it, and many predicted it would never take off because 78s sounded better. Without question, early LPs did not sound nearly as good as 78s. But given the choice of listening to all of Beethoven’s Ninth Symphony on two sides of one record versus sixteen sides of eight records, the consumer opted for convenience and simplicity (not to mention less shelf space).

…You can always count on the record industry to cling to the past, and to fight innovation.

So does the arrival of MP3 mean the death of the CD? I personally hope not. I love CDs. I am of that generation, probably a small five–ten year window of people who wouldn’t consider vinyl but had no access to file sharing as they grew up. Napster came onto the scene in 2000, when I was 14 — well into my music-consuming life.

I have been collecting CDs since I was nine years old. I haven’t counted, but I must have around 600 CDs. I only bought my first vinyl records a few years ago. I bought them grudgingly, only because they were not available on CD. I reckon today I have 30 vinyl records.

I have only ever bought around a dozen MP3s — again, because they were not readily available on CD or vinyl. (I have downloaded a few dozen more because they weren’t commercially available at all — mainly live bootlegs and demos.) I would consider buying more. But although MP3 is the format du jour, there is a big block in my mind preventing me from buying something that I will never be able to see or touch.

I suppose this makes me a collector. (Yes, my collection is in alphabetical order — or it was until I ran out of space.) Collectors tend to be fans of vinyl though, which makes me an anomaly.

It would be nice to think that the CD will limp on and eventually survive another day in the MP3 era just as vinyl has done in the CD era. I have grown up with CDs and I love them. I’m not an audiophile, so the sound quality issue doesn’t worry me too much. And to be honest, I can’t be bothered with the faff of vinyl.

Whether it is CD or vinyl, there will always be people like me who treasure the physical presence of an album. It’s not just about a collection of notes. It about an event, a happening. It’s the artwork, the packaging. The sleevenotes, the lyrics. The smell of the booklet. It has an aura. When you hold a copy of a good album, you are transported to its space without even having to put it on. Could all of this really die because of the internet?

When Radiohead released In Rainbows, the pricing structure grabbed all of the headlines. But that wasn’t the interesting thing for me. The pay-what-you-want method is just a belated recognition of the fact that people could choose to pay nothing anyway.

The other aspect of the release of In Rainbows interested me much more. I didn’t pay anything for the MP3s. I downloaded them for free when they were released on 10 October. That’s because I got them as part of the £40 “discbox” set.

The discbox is a premium edition of In Rainbows. It comprises a CD of the album, an second CD with eight extra tracks and enhanced content, a 2× vinyl edition of the album, and generally all-round badass packaging.

£40 is the most I have ever paid for an album. I hesitated before I ordered it — but not much. Although I am sort of a collector, I have never been a completist. I am usually happy to have the CD version on its own. But I couldn’t resist the awesomeness of the discbox — despite the fact that I hadn’t even heard the album.

This was largely ignored in the media coverage of the album, but to me it was the most notable aspect of the unconventional release of In Rainbows. When I first posted about In Rainbows, I neglected to even mention the fact that the MP3s were free. I didn’t find it that interesting.

People like me, who love the physical formats, will be continue to be catered for. It is easy to make money out of us. Slap a sticker saying ‘limited edition’ on a record and suddenly demand for it will become price inelastic. Suckers like me will buy premium versions of albums at higher prices than we would otherwise consider. And this will become ever more important for the record companies as physical sales continue to get eaten into by the internet, where profit seeking is impossible.

In Rainbows wasn’t the start of this. Limited edition versions of albums have been around for a very long time. But in an age where it is becoming increasingly difficult to make money out of recorded music, it is becoming more and more prevalent.

When I went shopping for Sigur Rós’s Heima DVD I thought £17 was a bit steep. Then I saw the limited edition version for £25 and bought it.

The deluxe multi-format edition seems to be becoming more common as well. Björk’s latest single, ‘Declare Independence’, is available as a deluxe edition, yours for only £19.99.

Formatted in the same extravagant packaging as the Volta double LP, this contains all conceivable formats of the single: double vinyl, CD and DVD.

Something else that is becoming more and more common is for people to automatically get the MP3 version for free when they order a physical version. For instance, Nonesuch has started doing this. You can choose between standard 128kbps MP3s or maximum quality 320kpbs at no extra cost.

It makes sense to me. Being able to have your entire music collection on a portable device is becoming an expectation these days. Since vinyl is a bit more tricky to get onto your iPod, it would be good to get the MP3s of music that you have already bought automatically for free. Hopefully more record companies will adopt this approach.

A lot of people have wondered aloud if the fact that we can now get music for free from the internet is devaluing music. But it seems to me as though the internet is not only driving the price of music down — it’s also driving the price of CDs and records up.

If you look in the sidebar (just above the ‘blog info’ stuff that no-one cares about) you will see a little widget. It is the audio version of Matt Wardman’s Daily Roundup. It’s a bit like a paper review.

For a trial period he is testing it out on blog sidebars for a few weeks to see how it goes. I agreed to be part of the trial. Matt Wardman clearly puts a lot of effort into his blog, and he must put a great deal of effort into putting this podcast together every day.

That does mean that it’s recorded in a bit of a rush. And it’s early days yet so it does sound a bit rusty. But it’s certainly an interesting idea, and a good way to find out about some stories that might otherwise be missed by your radar.

As Matt says on today’s post:

I did the podcast as a single take this morning, which saved most of the editing time; the corollary is that I now need to do some work on breathing, pacing, articulation and continuity.

I estimated that it would take a couple of dozen podcasts before I was competing with Chris Vallance - the quality should be there or thereabouts by the end of the month.

Any comments on any aspect of the podcast are more than welcome.

• Prince William makes first solo flight
• Plane crash-lands at Heathrow

I recently had to write an essay for university about changes in Scotland’s population since 1945. While I was writing that I happened, almost by chance, upon The Registrar General’s Annual Review of Demographic Trends 2004.

What’s so special about 2004? It was the 150^th anniversary of civil registration (which began in 1855, in case your arithmetic isn’t too hot). So the Registrar General took the opportunity to delve into the statistics and produce lots of interesting analysis on this historical trends of Scotland’s population as far back as records go.

While I should have been writing my essay, I found myself perusing the graphs. I’m that sort of person. Obsessed with graphs. I’ll share a few of the most interesting ones with you.

Sorry about the illegibility of some of these. I have to confess that I am stealing the Registrar General’s bandwidth (although this does not vex me because the public is paying for that bandwidth, and something tells me they won’t get me with the goatse treatment). The original images are huge (much bigger than they appear on the PDF), so I have had to crudely reduce them in size to fit in these pages.

Immigration

Immigrants flooding this country! Er, or not.

Literacy

The Registrar General used the number of people signing by mark while marrying as a crude measure of literacy up until 1915.

Marriages in Gretna

They are a much more modern phenomenon than you might imagine.

Divorce

I bet if you got divorced in the nineteenth century it was national news.

Death

My favourite topic! You can see the general long-term decline in the number of deaths. But more interestingly, the peaks a troughs become much less extreme, signifying improved medicinal technology and ability to cope with epidemics.

These are just a few of my favourites, but I could have included twice as many (to be honest, you’re lucky I didn’t). But if you’re interested in Scotland’s modern history and demography I’d definitely take a look at the full document.

Well I see that the debate about organ donation has reared its head again. My views have, if anything, hardened since I wrote on this subject last year. Please read that post before going on to read this update.

I am a liberal. As such, I sympathise with the view that the state should not have a right to take human organs after that person has died. However, I don’t agree with this.

The reason is this: dead people don’t have rights. They can’t. Because they’re dead. And as much as I would like to have a say over what happens to my body when I die, the reality is that I don’t have much choice in the matter. Maggots don’t care much about human rights, you see.

Rights and liberties can only be extended to people from the moment they are born until the moment they die. After all, it is a bit of a stretch to say that an unborn child has rights if the only thing she can do is wobble around inside a womb while being physically unable to be detached from her mother. And you certainly can’t take advantage of liberties when you’re dead because your only function will be to rot.

A common rebuttal is that although you will be dead, your next of kin won’t. But I never got the big whoop-de-doo over kinship anyway. If you’re married, then yes. But not so much with blood relatives. And if you have a major libertarian / individualist streak, chances are that you won’t marry. Many people dislike their relatives, and it is certainly a gigantic leap to say that their wishes are perfectly aligned with mine.

As such, the idea of having relatives make their decisions for me once I’m dead puts a chill up my spine as much as the idea of the state making them. For me, it is no more oppressive for the state to have an automatic right to my organs once I am dead than it is for my next of kin to.

And if the state has that access, it will be doing it to save the lives of dying people rather than just huffing about it with their arms folded. Besides which, I will find it very difficult to care either way, given that I will be dead and all.

(Not that I hate my relatives, you understand. The point I’m trying to make is that when I’m dead I don’t get a say anyway, so it makes no difference to me who makes these decisions, whether it’s the state, relatives, or complete strangers.)

The question that this organ donation hoo-ha asks is this: Should the rights of the dying be put ahead of the rights of those who are already dead? The answer is surely ‘yes’.

Interesting posts from both sides of the debate:

• Chicken Yoghurt
• Longrider
• Cassilis
• Shuggy

There is a row in the USA at the moment between the Hillary Clinton and Barack Obama camps. Sadly, someone somewhere along the line has played the race card. Hillary Clinton’s comments about the Civil Rights Act have been called into question.

I doubt Hillary Clinton intended to belittle Martin Luther King’s role. But Hillary Clinton’s comments nevertheless piss me off.

Cassilis says Clinton was making a fair point. But to say “it took a President” to pass the Civil Rights Act is banal. It isn’t exactly headline news that you need a President to pass legislation in the USA. I hardly believe Barack Obama — or any of the other Democratic candidates — dispute it. So what was the point of her saying it?

Well, I am assuming this is yet another angle in her crusade to persuade everyone how experienced she is. She keeps on banging on and on about her experience as if she is in the running to become leader of the Chinese Communist Party rather than President of the United States.

But what experience does she have? Well, she has been a Senator since 2001 — for years longer than Obama. But Obama has also been a member of the Illinois State Senate for seven years prior to that. So it looks to me as though Barack Obama has roughly equal (if we decide to give a higher weight to the US Senate) or slightly more experience at actually being a politician, as opposed to just being married to one.

But I presume it is her famous husband whom Hillary Clinton is evoking whenever she refers to “her” “experience”. This is what really annoys me about Clinton. She comes across as though she thinks she has a right to be President because of her surname. But is it really wise to elect someone on the basis of whom they are married to?

If voters buy into the Clinton mantra of experience, it may mean that really people want Bill Clinton to become President through the back door. In this case it makes a mockery of the constitution, and the maximum of two terms that Presidents can have. No doubt Putin will be trying this trick soon.

Let us assume that Hillary Clinton goes all the way, becomes President and serves two terms. By the end of that, it will have been almost three entire decades since the US had known a President who wasn’t either a Bush or a Clinton.

It does amuse me. Some Americans like to go on about how they are proud that they don’t have a Royal Family because they believe that power should not run through the family. But then they go ahead and elect people from the same families anyway. The difference is that Britain’s Royal family doesn’t actually have any real power.

And I have got through this entire post without even mentioning the Kennedy family yet.

For this reason, I find Barack Obama’s main message of ‘change’ much more appealing than Clinton’s message of ‘experience’. On the basis of the slogans and the simplified, dumbed-down political debates, Barack Obama ought to win this campaign hands down.

This is interesting. We are used to the idea of Easter eggs (hidden extras) in DVDs and the like. But how could there be an Easter egg on television?

Unless you are like me, it is probably not very exciting. But if you miss those late nights in the company of Carole Hersee and Bubbles the Clown, then this is a treat. It is accessible in the vast majority of DTT / Freeview boxes, but some older ones won’t cope.

Here are the instructions:

• Turn to the BBCi channel (i.e. channel 105)
• Once the BBCi menu has loaded up, press YELLOW
• Turn to a different channel (any channel will do)
• Turn back to BBCi on 105
• Once the BBCi menu has loaded up, press GREEN. The word “secret” should now display in the top-right of the screen
• Wait for the “Status” page to appear
• Press 3 3 5 8 2 RED GREEN YELLOW BLUE (33582 spells ‘delta’ on a phone keypad)
• Wait a short while

Ta-da!

It is probably used for engineering purposes, although it seems a bit odd that it has to be hidden away behind a code quite as convoluted as this. The “status” page is also tantalising and intriguing. The borders around the edge are ’safe areas’ and it is possible to change your region. But the rest is a bit puzzling to me. But I suppose it would be given that it’s not designed to be seen by the like of me.

The full details are at Digital Spy.

Via deeteetee.

Getting there slowly but surely. We might be two weeks into 2008, but that won’t stop me from looking back at 2007. By this rate it will be February before we get to the end of this list…

20. The Tuss — Rushup Edge

Whoever is responsible for this is at least a genius at generating hype. While the music is ostensibly by Brian and Karen Tregaskin, there are all sorts of clues that point towards this being the work of Richard D. James.

It’s difficult to imagine such an obscure record to make the pages of The Guardian under normal circumstances, but the whiff of Aphex made it happen. And the sight of IDM spods on the internet excitedly polishing off their magnifying glasses (after The Campfire Headphase failed to contain any codes to crack) carried the hype overboard.

Of course, I had to buy it to see what all the fuss was about. Turns out the music is okay, and it certainly sounds like Aphex. I’d be very surprised if something this accomplished really was the work of a hitherto unheard-of duo based in deepest Cornwall.

19. Field Music — Tones of Town

Field Music are the least well known, but easily the best, of the triumvirate of artsy indie-rock bands from the north east of England (the other two bands being The Futureheads and Maxïmo Park). I have to admit to being a bit disappointed with this album at first, but as with previous Field Music records its wonders were revealed with repeated listens.

Their first album was a little delight that combined contemporary indie sensibilities with a liberal dose of syncopation, Beatles-style strings, some quasi-Steve Reich-style minimalism and little snatches of oddness. Tones of Town (while a bit on the short side) expanded on the template beautifully.

However, my highlight is a song that deviates slightly from the template: the more melancholic ‘Place Yourself’, a pleasant, reflective song.

Since the release of Tones of Town, Field Music have gone on hiatus as a band as we know it. But a solo project on Thrill Jockey is in the offing. I’m looking forward to hearing more of School of Language.

Video: ‘In Context’ — highly recommended viewing!

18. Scott Walker — And Who Shall Go to the Ball? And What Shall Go to the Ball?

Definitely the strangest release I got my hands on this year. Scott Walker wrote this music to accompany a contemporary dance piece. So we know what territory we are in here.

The music took some time to get used to, even for a fan of Scott Walker’s recent work. ‘Part 1′ really just consists of some electronic hums and some strange scraping sounds that sound a little bit like that noise people make before they exaggeratedly spit. This lasts for over three minutes, when some largely atonal strings come in, abruptly starting and stopping seemingly arbitrarily.

‘Part 2′ is no less weird, with a foreboding, driving, deep drum beat and string and horn sections squealing like an elephant in a particularly rhythmic distress. But the biggest surprise of them all isn’t to do with the music. Scott Walker’s distinctive voice does not make a single appearance in this entire work.

As you might guess, And Who Shall Go to the Ball?… takes some getting used to. I was certainly left feeling disappointed when I first heard it. But now I think it is quite good.

It certainly seems as though Mr. Walker is entering a rather prolific phase. In past decades you were lucky if Scott Walker brought out a new album every ten years. But hot on the heels of The Drift, he has been appearing on compilations and all sorts. Not to mention the other projects between Tilt and The Drift such as the Pola X soundtrack or producing Pulp’s We Love Life. Every year he seems to be doing a bit more than in the previous year. Here’s hoping.

17. Jonny Greenwood — There Will Be Blood

I think Jonny Greenwood is one of the most important musicians around at the moment. He is most famous for whacking around with guitars in Radiohead, but his solo music reveals him to be a highly accomplished composer as well.

The soundtrack to the film There Will Be Blood further cements this. The film is set in the early twentieth century, so there is not quite the same space for electronic experimentation as Jonny Greenwood had with Bodysong. What you get instead is a beautiful, melancholic mixture of piano, strings and ondes Martenot. The ondes Martenot is such a magical instrument, and it is used to great effect here.

Maybe I am getting carried away because Jonny Greenwood is a rock star. But I really think that ‘Eat Him By His Own Light’ is within touching distance of some of Erik Satie’s work.

The soundtrack contains a lot of work that Jonny Greenwood has done in his role as the BBC’s ‘composer in residence’. Notably, it contains excerpts of ‘Popcorn Superhet Receiver’. It is such a shame that ‘Smear’ — probably my favourite Jonny Greenwood piece — does not make an appearance as originally promised.

Unfortunately, not all of the music is engaging. Also, this album is only half an hour long even though Jonny Greenwood recorded two hours worth of music for the film. I suppose we should be grateful for the scraps, but the album ends without you realising it was even close to the end. Oh well.

16. Battles — Tonto+

I have to say that ‘Tonto’ wouldn’t have been my first choice as a single. Nothing against the song — it’s just a bit long-winded for a single. Mind you, my brother disagrees with me strongly on this!

There are no new tracks on the EP, although it is still quite a treat. After a disappointing remix of ‘Tonto’ by The Field, the seemingly omnipresent remixer Four Tet comes up with the goods. A remix of ‘Leyendecker’ by DJ Emz featuring Joell Ortiz is good enough, although it completely jars with the rest of the EP and the general Battles vibe.

Perhaps the best part of the EP, though, is two live tracks — performances of ‘Tonto’ and ‘Leyendecker’. I go on and on about how great Battles are live, and this is further proof. But as ‘Leyendecker’ winds down on this EP you can hear drummer John Stainer beginning ‘Race: In’, which just makes me desperate for a full live album of some sort. Make it happen!

Video: ‘Tonto’

15. Sigur Rós — Hvarf / Heim

A fair couple of mini-albums. I was getting a bit sick of Sigur Rós, but Hvarf / Heim won me over again.

Hvarf is basically a collection of old songs that never got released before, so it was never going to be a five star album. But nevertheless it is a good listen.

Heim is a more engaging listen. It is made up of some rather lovely live acoustic recordings of some of Sigur Rós’s best songs. The highlight is one of my favourite Sigur Rós songs, ‘Ágætis Byrjun’.

My original review of Hvarf / Heim

14. Air — Pocket Symphony

A reasonably pleasant album from Air. Not their best, but a good listen nonetheless. My main criticism with this album is that it sounds so similar to Talkie Walkie. So if you don’t like previous Air albums, it’s probably best to give Pocket Symphony a miss.

Even a collaboration with Jarvis Cocker feels like a missed opportunity. Another collaboration, ‘Somewhere Between Waking and Sleeping’, with Neil Hannon, is more successful — although it plays up to the stereotypes of ‘chill-out’ music. Nice song though.

There are some good songs — ‘Left Bank’ and ‘Mer du Japon’ are particular highlights. However, there is nothing approaching some of the killer songs they have come up with on previous albums.

If you like Air though, you will not be disappointed with Pocket Symphony.

13. Gescom — A1–D1

The mysterious Gescom collective resurfaces for the first time since 2003’s immense Iss:Sa. This new EP, A1–D1, appears to be a collection of six remixes, glitched up to the max.

The only one I can recognise is ‘B1′, which is a remix of Brian Eno + David Byrne’s ‘Come With Us’. It really highlights the spookier elements of the original song, which hadn’t really grabbed me before. It’s quite creepy to listen to really. One of those tracks to ban myself from listening to at night.

I haven’t heard of any of the other stuff that has been remixed for A1–D1, although people with a much better knowledge of the history of electronic dance music will apparently recognise them. It’s really groovy though.

‘A2′ is a good blast of messed up acid. ‘C1′ has a tantalising melody and jumpy beat that never seems to sit still (despite the fact that it doesn’t change much, if at all), leaving you wanting more. ‘C2′ starts off with one of the most dizzying soundscapes I have ever heard.

It is also being claimed by Skam that this is the world’s first ‘left-handed’ CD case. Yes, it opens the wrong way.

All-in-all, a really good Gescom release. I don’t know if the Autechre lads had anything to do with it, but it is nonetheless a good CD to have while we wait for Quaristice to come out.

12. Burial — Untrue

What I know about the fledgling dubstep genre could be written on the back of a postage stamp. It would say ‘Burial’ on it. I kept on reading about Burial. Somehow he has captured the attention of the chatterati, as I read more and more about him in places like The Guardian. Having seen ‘Burial’ written in too many end-of-year lists and ‘hear this before you die’ articles, I took the plunge and bought Untrue.

I had no real preconceptions. All I knew was that Burial was a ‘dubstep’ artist (dubstep being a relatively new kind of electronic music popular with Shoreditch types), and that he was fiercely anonymous to the point that “only five people know I make tunes“.

On first impressions I was a little underwhelmed. It sounded good, but it wasn’t quite what I was expecting. It was like a more experimental, sparse garage music. A bit like what Pole would sound like if he came from London.

I have to say, now that I am used to the sound I think it is fabulous. It sounds like it is from a futuristic urban dystopia. “London 2030, you’re the last man alive” sort of thing. A good accompaniment to last-night walks around town.

I don’t know if it will make me investigate the dubstep genre much further. It will certainly make me buy Burial’s first album at some point. Good stuff.

11. Modeselektor — Happy Birthday!

The latest Modeselektor album contains nothing revelatory. It certainly doesn’t grab me in the same way as their first album, Hello Mom!. And in a lot of ways, Happy Birthday! feels a lot like they are recycling old Modeselektor tunes.

However, I have still found myself enjoying this album immensely. ‘2000007 (feat. TTC)’ particularly gets stuck in my head a lot. It is an excellent mix of great music and good humour.

The collaborations with Thom Yorke and Maxïmo Park are missed opportunities for me. And if you’re looking for something different to their first album, you’ll have to look elsewhere. But it’s nonetheless a thoroughly enjoyable and engaging listen.

Apologies for taking so long to get round to writing this post. That pesky life business getting in the way as usual.

In the previous posts in this series I have been waxing lyrical about copyright law and the mistakes the entertainment industry has made in adapting to a world with the internet. Over the past couple of years, people in the music industry have — belatedly — begun to tackle the issue properly.

Radiohead made big news last year with their latest album, In Rainbows. What hit the headlines was their novel pricing structure. You could choose the price you wanted to pay for it, between zero and £100.

This idea wasn’t all so novel though. Radiohead are by no means the first band to release their music for free, or to take the ‘honesty box’ approach to pricing. They certainly won’t be the last.

Prince did a similar thing this year as well when he gave away his latest album free with copies of the Mail on Sunday. This led to the odd sight of branches of HMV installing a dumpbin of the paper for one day only.

It’s worth thinking about exactly what Radiohead did by implementing a choose-your-own-price method. The record industry often likes to talk about how much it has “lost” as a result of piracy. But the numbers they use are misleading.

As Tim Worstall pointed out on his (now tabloid) blog many months ago, demand curves slope downwards. So the record industry don’t lose anything like as much as (number of illegal downloads) × (RRP of a CD) as a result of the download revolution.

The old model meant that people could basically either choose to buy a CD at its RRP or pass on it completely. So if you were only willing to pay £11.98 for a CD that was priced £11.99, you wouldn’t buy it. That is fine — that is how the market works.

But when filesharing became more common, people could choose to buy a CD at its RRP or download it for free. Those were the only options available. So if you were still willing to pay £11.98 for that CD, you would not pay £11.99 — you’d just download it for free. From £11.98 and lower, record companies were losing profits. They didn’t know how to deal with this, so used the ham-fisted techniques I described in the previous post instead of coming up with a new business model like they should have done.

The In Rainbows method tackled the problem head-on. Under Radiohead’s system, if you were willing to pay £11.98, you could choose to pay £11.98. What’s more, if people were willing to pay, say, £80 for the album, they could choose to pay that as well.

Chances are that most wouldn’t. You could legally download it for free, so lots of people will have done this without feeling any sense of guilt. Radiohead aren’t releasing any figures, so we can’t tell. But reading between the lines of the interviews Radiohead have given, they seem quite happy with how the experiment has worked out and most estimates suggest that Radiohead have made more money using the honesty box approach than they would have done with the old way — mostly because all of the middlemen have gone.

The middlemen are a big problem. They seem to be particularly so at EMI. Recently EMI was taken over by a private equity firm, Terra Firma. They appear to be particularly clueless. In the space of a few months they have managed to piss off three of the biggest acts on their roster — Radiohead, Paul McCartney and now Robbie Williams.

Here is some insight from Paul McCartney:

“I’d started saying to them: ‘Look, we could write a thing and have it released the next week.’ And they would say: ‘You can’t do that these days.’ So I would say: ‘Well, how much time do you need?’ And they’d say six months. I said: ‘Why do you need that long?’ And do you know what they said? ‘To figure out how to market it.’ I said: ‘Wait a minute, are you sure you need six months for that? Couldn’t some bright people do that in two days?’ Jesus Christ. I said: ‘Look boys, I’m sorry, I’m digging a new furrow.”

EMI seem to be making the mistake of treating artists like widgets. They have mistaken creativity for something that can be switched on and off like a tap.

And they seem to be amazingly inefficient. Fans know all-to-well about the six month gap between the announcement of a new album and its actual release date. It surely don’t have to be that way. Indeed, one of the most refreshing things about In Rainbows was that it was announced a mere ten days before its release.

So if the middlemen are no longer needed and are actively hurting the artists and the fans, does it mean labels are doomed?

Well, Radiohead took a risk, and it paid off. A lot of people say they were in a lucky position. And they were. Radiohead are the best band in the world and probably the most popular contemporary band. They were always going to do well regardless.

But what about the smaller bands? Surely the chances are that they won’t do as well as Radiohead by adopting such an honour system.

B