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Music of 2008: Top ten

7 February 2009 02:03

Categories: Entertainment, Music, Reviews

Music of 2008

A series of posts

Music of 2008: #25–#11
Music of 2008: Top ten

10. Stereolab — Chemical Chords

This is more or less what you would expect from Stereolab. Fantastically jaunty and slightly idiosyncratic pop songs. This is hardly Stereolab’s best album (and I say that as someone who has only heard three of them), but it is a joy nonetheless.

9. David Byrne and Brian Eno — Everything That Happens Will Happen Today

This pair produced one of the most important and experimental albums of recent decades. But My Life in the Bush of Ghosts was over 25 years ago, and this was the first time they had worked together since. There was no point in expecting the same again, and what we have here is an album of fairly conventional — though diverse — pop songs. It seems as though Brian Eno’s mission in life just now is to make good songs (which have good lyrics). There are some great songs here (I particularly like ‘I Feel My Stuff’), but it ain’t a world changer.

8. Neon Neon — Stainless Style

Boom Bip and Gruff Rhys built on their earlier collaborations to create this most unlikely of concept albums. It is based on the life of John DeLorean, creator of the DeLorean car which was clad in stainless steel. The music revels in the 1980s concept, and the slightly off-the-wall idea behind the album belies a clear genuine love of indulgent 1980s synth-pop. A great listen.

7. Various artists — BBC Radiophonic Workshop: A Retrospective

A great look back at the legacy of the BBC Radiophonic Workshop, the hugely influential electronic music department. This 2CD set compiles music from the entire 40 year life of the Workshop. The first CD is absolutely charming, and my jaw drops thinking about how much effort was put into these early electronic masterpieces. The later music is not so special — ironically as the technology got better it only opened up a world of identikit sounds. This is not enough to spoil the CD as a whole though.

In-depth review of BBC Radiophonic Workshop: A Restrospective

6. The Advisory Circle — Other Channels

I just adore this album, which faithfully recreates vintage electronic music of the sort we were all exposed to in our youth. Be transported to two or three decades back. Television idents, programmes for schools, public information films, library music… dare I say the Radiophonic Workshop? But all with more than a smidgen of creepiness and uneasiness built in. It’s Boards of Canada+. If that’s your sort of thing this really is an essential purchase. Don’t listen to it at night though.

5. John Baker — The John Baker Tapes Volume 1 and 2

John Baker was one of the most important members of the BBC Radiophonic Workshop. This pair of CDs unearthed a load of hidden gems from his career that may otherwise have ended up in a skip. Volume 1 documents his work at the BBC, with lots of great bits and pieces like news jingles, theme tunes and little bits for educational programmes (I love the song about not being taken in by slick salesmen). Volume 2 focuses on his commercial work and private recordings of his jazz piano playing. There are notes on each of the tracks, an in-depth biography written by his brother, Richard Anthony Baker, and a recording of the Radio 5 Live obituary broadcast also by Richard Anthony Baker.

The CDs serve not only as an important document of John Baker’s work, or even a collection of important electronic music — but almost as a time capsule of 1960s and 1970s life in Britain. Tracks titles like ‘Decimal Currency’, ‘Building the Bomb’ and ‘Giro Advert’ serve to make the collection an important document of social history too.

In-depth review of The John Baker Tapes Volumes 1 and 2

4. Squarepusher — Just A Souvenir

Tom Jenkinson expanded on the more live sound he has developed since Ultravisitor by producing this concept album inspired by a fantasy futuristic band from his daydreams. It’s a good device that allows him to become quite indulgent with his use of experimental electronic techniques, while also exhibiting his über bass and drumming skills. At the same time there are gloriously poppy songs like the irresistible ‘A Real Woman’.

In-depth review of Just A Souvenir

3. The Fiery Furnaces — Remember

The Fiery Furnaces don’t know how to do anything the conventional way, and they even found a way to completely change the way you can think of a live album. The recordings are pieced together from a variety of different concerts. And it’s not just different songs from different recordings. Different recordings of the same song are spliced together, mercilessly interrupting itself in the middle, complete with jarring changes in sound quality. It is not as annoying as you might think. Along with the fact that the live versions of songs are often radically different to the original studio recording, this is sure not to be a wasted purchase.

In-depth review of Remember

2. Autechre — Quaristice and Quaristice (Versions)

Autechre seldom fail to surprise. The often imitated but never bettered duo specialise in altering your perception of what music can be. With Quaristice they pushed on with their particular brand of pathbreaking electronic music. But it lacks the coherence of previous albums, jumping about in style and mood from track to track while previous albums had a well defined sound of their own. Instead of the eight or nine long tracks, Quaristice has 20 tracks more typically three or four minutes long. I originally felt that it was a weak album, but now whenever I listen to it I find myself completely loving it. Even a disappointing Autechre album is head and shoulders above what anyone else produces.

Quaristice (Versions), the extra CD that came with the limited edition version, is shaped more like a traditional Autechre album, but the music itself is more of the same — literally. Longer cuts give these tracks more room to breathe, making it a perfectly pleasurable listen, even if it did begin to feel like you were paying for the same music several times over (especially if you bought Quaristice.Quadrange.ep.ae, which I reviewed in the earlier post).

In-depth review of Quaristice

1. Portishead — Third

Hands up who expected this album to be crap? An 11 year gestation period did not bode well. But the end result is in fact excellent. Actually, I could hardly believe what a good job Portishead had done. Clearly having made a conscious decision to avoid the Portishead trademarks which turned into trip hop clichés, the band have set themselves a subtly new direction and have pulled it off magnificently. There is still that slightly dark and black-and-white sound. But now there is a rather more live feel to the music, albeit with more of an emphasis on jaggy and sometimes slightly unsettling electronic sounds. And the songs are absolutely top-notch. I hope it isn’t 11 years until the next Portishead album.

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The Designers Republic

31 January 2009 20:15

Categories: Entertainment, Games, Music

The other day I learnt from my brother that the graphic design company The Designers Republic went out of business earlier this month.

My interest in graphic design is not particularly heavy. But the interest I do have in it has all stemmed from my exposure to the work of The Designers Republic. Their work was usually bold and eye-catching; unconventional and experimental. It is exactly the sort of thing I appreciate in all forms of art. They were sometimes uncompromisingly experimental, yet they made it make sense. Their designs were often beautiful and pleasing.

My first exposure to the work of The Designers Republic was probably the elements of Pulp’s visual identity, which tDR produced when the band was at the height of its powers. Like Pulp, The Designers Republic was proud of its Sheffield roots and would often reference the area in its work.

Later, I would come across The Designers Republic again when it created the visual atmosphere for the wipEout series of futuristic racing games. wip3out in particular was exquisitely presented. Even though “futuristic” design typically dates horrendously, ten years on I think wip3out stands the test of time fairly well. To this day it remains my favourite video game ever.

This video below contains the intro sequence to wip3out, introducing the player to the industrial urban world of 2116 and the (anti-gravity) F7200 Race League. There are also striking corporate identities for each of the fictitious teams. There follows a spot of gameplay — a short eliminator round at the Mega Mall circuit — which shows just how important The Designers Republic’s influence was to the game.

An archived version of the wip3out website, also designed by tDR, is still available to browse.

The earlier wipEout games do not stand the test of time quite so well. Perhaps because it used very similar designs throughout the early-to-mid 1990s, most notably for the band Pop Will Eat Itself, the style seems firmly rooted in the 1990s.

My exposure to tDR’s work increased when became interested in electronic music, particularly the output of Warp Records. Warp’s striking visual identity was one of the things that attracted me to the label, and it was a perfect fit for the experimental, forward-looking techno music that Warp used to specialise in.

Like tDR, Warp has its roots in Sheffield, so the original relationship was one of expediency. But the fit was so good that in a lot of ways Warp and tDR are inseparably intertwined in the eyes of some. But in later years, tDR designed very few record sleeves for Warp at all.

In fact, the only one from recent years that I can think of is the artwork for Autechre’s Quaristice, which was recently featured in the excellent music artwork blog Sleevage. The extravagant brushed steel limited edition of Quaristice was probably the last tDR-designed product that I bought. It is a truly exquisite piece of work. I have my own photos of it, but the photographs on Sleevage give a much better idea of the stunning quality of it.

But it was difficult to escape the fact that tDR was producing less and less for one of its most iconic clients. In fact, I had knowingly seen hardly any tDR work at all over the past few years, and a lot of people came to see tDR as lazy. Sometimes their work was a bit too minimalist, to a cheeky extent (see, for instance, the track-by-track artwork for Quaristice).

But a number of their designs were very striking, and I own a lot of t-shirts that were designed by tDR. Since being exposed to their work I have made a conscious effort to make anything I design (like this blog) look good. For a brief period of my life, I even seriously considered going into graphic design as a career (before concluding that I probably wouldn’t be any good at it).

Even though The Designers Republic closed down this month, its influence will always be felt. tDR spawned a million copycats, and the course of artwork related to electronic music in particular has been changed forever by tDR.

Anyway, many of tDR’s best designers over the years have moved on (see, for instance, Universal Everything or Build). And tDR’s founder, Ian Anderson, has pledged that it will return in some form or another. The Designers Republic is dead, long live The Designers Republic indeed.

Over the years, tDR has produced some of my favourite album artwork. I’ve gathered some of them below the fold.

Click for more »

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A BBC scared of its own shadow isn’t worth it

29 January 2009 00:12

Categories: Biased BBC, Current affairs, Entertainment, Humour, Media, Newspapers, Politics, Radio, Television

Years ago, this blog had a little button on it. Where today you see little logos for Amnesty International and No2ID, there used to be a button that said “I believe in the BBC”. It was to back this campaign, which was one of the things that got me hooked on blogging. I couldn’t believe how much of a stitch-up the Hutton Report seemed, and I wanted to stand up for what was the best broadcaster in the UK.

Some time during the intervening five years I removed the button from my blog. I had decided that I actually don’t really believe in the BBC. Of course, over time I have become more and more disillusioned with the mainstream media in general, and my opinion of the BBC has fallen south along with the rest of the mainstream media.

But I have found myself becoming particularly frustrated with the BBC’s apparent fear of its own shadow. It is pretty clear that this neurotic period of the BBC’s history began with the Hutton Report, and has been more recently exacerbated by a never-ending stream of overblown tabloid-generated nowtrage.

Of course, the lame tabloid stone-throwing is practically as old as the BBC itself. The difference is that after the Hutton Report, the BBC has appeared to actually believe that the tabloids have a point. What we needed after Hutton was a BBC that stood its ground and believed in its principles. Instead, it has become a blundering, self-loathing embarrassment; a stumbling colossus.

Nowadays, if a tabloid kicks up a bit of a fuss over, say, a bit of post-watershed swearing, the BBC doesn’t roll its eyes and ignore it like the majority of its viewers and listeners do. Instead, it trumps the tabloids, immediately making it the top story in all of its bulletins.

BBC News journalists then begin conducting fierce two-ways with BBC managers, and viewers are treated to a bizarre self-flagellation session lasting several days. The BBC sternly questions the BBC about its own outrageous conduct. After several days or even weeks have passed it quietly snaps out of it — only for another scandal to come along and the whole cycle begins again.

Take the television fakery scandals that engulfed the BBC a couple of years ago. Somehow, the fact that Blue Peter changed the name of a cat became the most shocking thing ever and threatened the very future of the BBC. I knew that because the BBC itself kept on saying so.

The fact that the commercial broadcasters had spent the previous few years building an entire genre of programming — the late night phone-in quiz programme — that was dedicated to deviously extracting cash from its viewers got swept under the carpet. Everybody was too busy watching the BBC break down in what you might call a Cookie crumble.

It was right that the BBC made changes following the scandals. But the difference in approach between the commercial broadcasters and the BBC was huge. Premium rate competitions were quick to make a return on commercial channels, with a bit more small print. But on the BBC, to this day the world “competition” is practically a swear word. Pre-recorded radio programmes are littered with apologies and warnings about the fact. The BBC’s paranoid fear of another scandal is getting in the way of its programming.

Then there is the Jonathan Ross and Russell Brandwagon, when the BBC inexplicably allowed a rather rude phone call dominate the news agenda for several days. While the economy was actually collapsing, the BBC almost willed itself on to implosion. When a bold BBC should have been responsibly reporting important news (which there was plenty of), instead the nervy BBC we’ve got occupied itself by poking its navel.

I found the BBC’s reaction quite seriously worrying. Even though the phone calls were a bit over the line, the reaction was completely out of proportion. And it has the potential to set a worrying trend, for the reasons Charlie Brooker pointed out.

The BBC is surely supposed to be there to do things that commercial broadcasters are either unable or unwilling to do. By definition, this means making challenging programming — programming that might not meet with popular approval. And in comedy in particular, that means pushing the boundaries.

The BBC’s decision to wave the white flag over the Russell Brand hoo-ha was basically a conscious decision to undermine the principles by which the BBC is supposed to exist. It follows that if the BBC believes it shouldn’t make distinctive comedy programming, why should it make distinctive programming at all?

The result is that we now have a BBC which is paralysed by a fear of criticism. It has become too self-conscious, and when the spotlight is on it nervously stumbles around. It’s not exactly the BBC we’re all supposed to be proud of.

The latest scandal to hit the BBC, over the DEC’s Gaza appeal broadcast, exhibits the BBC’s fear well. Knowing that the Israel–Palestine issue is so thorny, particularly given the right wing’s frequent criticism of the BBC’s coverage, it was caught like a rabbit in the headlights.

The first of the justifications given by Mark Thompson for choosing not to broadcast the appeal is that aid might not be delivered properly. That would be fair enough. It would be strange, though, if the BBC knew better about this than the DEC, a group comprising of thirteen charities dedicated to delivering aid properly.

The other (“more fundamental”) justification was the fear that the BBC might be seen to be impartial. It’s interesting to note that Mark Thompson never says that broadcasting the appeal actually would undermine the BBC’s impartiality. He is just concerned about the perception.

The BBC is perfectly entitled to decline to broadcast a DEC appeal. But the fact that it has allowed its fear of the public’s reaction to get in the way is worrying. It is yet another sign that the BBC is no longer prepared to be the bold public service broadcaster it’s supposed to be. And, of course, it brought a fresh round of awkward interviews between BBC journalists and BBC bosses.

It all makes for uncomfortable viewing and listening. It is clear that just now the BBC has very little belief in itself. So how should license fee payers be expected to believe in it?

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Woolworths: Final thoughts and wrapping up

17 January 2009 00:28

Categories: Blogging, Current affairs, General, Media, Nostalgia, Personal, Work

(Almost) 100 years of Woolworths

A series of posts

First of all, apologies to anyone who became sick of Woolworths when I published eight posts in a row about it. As you will have seen, “normal” service is on its way to resumption. Anyway, it was good to get it all off my chest, and is at least cheaper than seeing a therapist.

When I started writing this series, I thought I was going to end up with four posts. I ended up writing nine posts, and almost 10,000 words. I have a few final thoughts before I shut up about the subject for good.

A lot of people who have spoken to me about Woolworths have blamed the credit crunch and / or the government for the demise of Woolworths. As my posts have outlined, I think that is a gross simplification of the matter. If you look at the archives of newspapers you can see that people have seen this coming for a while, credit crunch or no credit crunch.

No doubt the staggering deterioration in the economy from October onwards accelerated things a lot. But there were fundamental problems with Woolworths, partly because it was burdened by almost 100 years of history which made it difficult to evolve.

A lot of people said they felt sorry for the way “they” were treating us. I couldn’t find it in myself to be angry (although that was admittedly made easier by the fact that I was planning on leaving anyway). No-one planned on the business failing. As for the administrators, it is their job to recover as much money from the situation as possible. That can mean being pretty ruthless and it cannot be an easy situation to manage.

A lot of customers asked me questions as though I had some kind of magical insider knowledge. When I said I didn’t know what was happening some people would say they thought I was being treated badly. I usually said, “I don’t think they even know what’s happening themselves.” I don’t know if they did know, but I imagine events were pretty fast-moving.

The reality was that I would have had a much better idea of what was happening if I stayed at home and watched the news. Lots of customers would come in and talk about what they had heard on the news, probably not even realising that we were totally unaware of whatever development had come about. It was unfortunate that things happened that way, but I doubt it can be helped.

The more I researched the history of Woolworths for this series of posts, the more I came to the conclusion that it was actually a fundamentally good business — or at least had the potential to be a good business. But throughout its history it has been maltreated in various ways and it ended up battered and bruised, limping on until finally keeling over this year.

For instance, the British arm of Woolworths was always more successful than its American parent. But until 1982 it sent most of its profits back to America. The Kingfisher years were, if anything, even worse.

Kingfisher failed to find an identity for itself and Woolworths was demerged in 2001. Under Kingfisher the stores had begun to crumble. Worst of all, just before the demerger Kingfisher sold all of Woolworths’s property, meaning that the new company had to lease it all back from landlords. Woolworths had crippling rent bills for the rest of its life. Woolworths still had huge takings, but it was brought down by massive overheads.

Arguably, the main beneficiary of the situation was B&Q. Kingfisher, rich having sold all of the Woolies property, continues to own B&Q to this day. But it was Woolworths which originally had the foresight to buy B&Q.

Home improvement and DIY was a big thing for Woolworths by the 1980s, as you can see in this advert from 1980. The products featured are almost entirely DIY-oriented.

Certain that DIY was a growth area, then-chairman of Woolworths Geoffrey Rogers bought the then-fledgling B&Q. The DIY offering in Woolworths was watered down to make way for B&Q. This might be one major reason why so many people cite Wilkinson as the store that replaced Woolworths.

Although Woolies appeared to have lost its way in the later years, there’s no doubt that most people had a real affection for the store. I saw lots of great blog posts during the final few weeks:

And some nice nostalgic offerings from more major news outlets:

Now, sadly, the shutter is down for good.

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Identity crisis

12 January 2009 23:30

Categories: General, Media, Nostalgia, Personal, Television, Work

(Almost) 100 years of Woolworths

A series of posts

One widespread criticism of Woolworths was that its stores were in bad nick. There’s no question that a lot of buildings were old and hadn’t really been looked after properly. The labyrinthine stockrooms of the Leith store had to be seen to be believed! But I never saw Woolworths stores as particularly drab. What perhaps hurt the most about this frequent comment was the fact that Woolworths had recently embarked on an extensive re-fit programme that plainly hadn’t worked.

Some press reports noted that if Woolies had seen through Christmas there would have been “yet another revamp“. A few months before Woolworths closed for good, its logo changed to a self-consciously modern all-lower case affair. At least one new store’s workers in Northern Ireland had new black uniforms.

Maybe a new image was required, but latterly there was a strange focus on minutiae of the store set-up. The rules by which our in-store displays were set up were tweaked. We were always told to keep to the “planogram” (the plan which our displays were to adhere to). But beforehad we had been encouraged none the less to fill the shelves with as much stock as possible.

Now we had to adhere to the planogram exactly as it appeared on the page, right down to having the shelves on the right notches. I saw one person leave a comment on a news story caustically pointing out, maybe if area managers weren’t sent around counting shelf notches Woolies wouldn’t have got itself into such a mess.

The situation was not helped by the fact that the size of products as they appeared on the planogram often bore no relation to their size in real life. Someone in head office obviously worked out how to squeeze a big picture of a product onto a small picture of a shelf, but they forgot that you can’t so easily squeeze a physical box. Problems were exacerbated whenever a product’s packaging changed, which is more often than you might think.

The obsession with shelf heights pointed to an unhealthy interest in homogeneity. The idea was seemingly to make Woolworths stores up and down the country stock exactly the same products in exactly the same way. But what was the need for this? It takes no account for the fact that different areas have different needs. The result was an inflexible store that sold more or less the same products regardless of what the local rivals were.

Moreover, many stores were not allowed to have top shelves. We were usually not allowed to have bulk stacks. And did you ever wonder where the dump bins of reduced CDs and DVDs went? I believe that they were not allowed either.

Presumably the idea was to make stores tidier. But in my view there was no need to make Woolworths look tidier. Most shops I go into look like a complete bomb site compared to our Woolworths store, and the likes of bulk stacks and dump bins are practically de rigueur in any store that likes to offer value for money, or simply make money from its stock rather than letting it gather dust in the stockroom. At a time when sales were falling, to actively be offering less stock for sale seemed suicidal. By the looks of it, it was.

The identity crisis on the shop floor was reflected in a more general marketing malaise. Historically, Frank W. Woolworth was not a big advertiser, normally restricting the company to advertising new store openings. But in the 1970s the UK arm threw its weight behind showy advertising campaigns brimful of familiar faces.

Woolies eventually became famous for its advertising campaigns and delightfully alliterative slogans like “The Wonder of Woolworth” or, my personal favourite from my childhood, “Woolies Winter Wonderland”. A more recent, delightfully punning slogan, said that Woolies was “Well Worth It”.

At its height, Woolworths was buying entire ad breaks. Check out this whopping two minute long advert from 1981.

The advert is wonderful. It is somehow cheap and cheerful at the same time as being ridiculously extravagant. It is also something undeniably of its time. You’d never see an advert like this today. But it fits Woolworths perfectly nonetheless.

Not quite in the same league is this more recent advert starring Jackie Chan in the fictitious sitcom “The Wooly & Worth Show”. It lasts one minute, but mostly focusies on Jackie Chan rather than Woolworths. It only tells you about a handful of products, and worst of all Wooly even decides not to buy the products that the advert is supposed to be about!! WTF?!

I was never the biggest fan of Wooly and Worth. No doubt an attempt to create a lovable comedy duo à la Wallace and Gromit, Wooly and Worth ended up just being faintly annoying. I was amazed, though, when a customer recently told me that she would miss Wooly and Worth on the television! Maybe most people found them lovable after all. My indifference towards the characters didn’t stop me buying Wooly and Worth keyrings as a memento in the final weeks of the store’s life.

Can you remember the company’s final slogan? I doubt somehow that “More great news from Woolworths” will be remembered as fondly as “The Wonder of Woolworth”. The recent slogan said absolutely nothing about the store and wasn’t an ounce of wit in it. Meanwhile, the classic taps right into people’s nostalgia for the store and its role as shop for special occasions. What about another recent slogan, “Let’s have some fun”? I’m still trying to decode the meaning of it.

One thing that was crystal clear in the media coverage of the collapse of Woolworths was that almost everyone had very fond memories of the store, even if they ceased to shop there in great numbers. Yet its heritage ended up overwhelming Woolworths. Creaking under the strain of almost 100 years of history, the company began to get a serious identity crisis. Straddling a line between changing with the times and continuing to give people what they remember from the past proved to be too difficult.

Meanwhile, the stores — which Woolworths once took great pride in — began to crumble. Recent re-fits misfired, leaving Woolworths with a reputation as a dingy shop.

Wooly and Worth in happier times, posing for my discount card

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doctorvee

Archive: YouTube

Music of 2008: Top ten

Music of 2008

10. Stereolab — Chemical Chords

9. David Byrne and Brian Eno — Everything That Happens Will Happen Today

8. Neon Neon — Stainless Style

7. Various artists — BBC Radiophonic Workshop: A Retrospective

6. The Advisory Circle — Other Channels

5. John Baker — The John Baker Tapes Volume 1 and 2

4. Squarepusher — Just A Souvenir

3. The Fiery Furnaces — Remember

2. Autechre — Quaristice and Quaristice (Versions)

1. Portishead — Third

The Designers Republic

A BBC scared of its own shadow isn’t worth it

Woolworths: Final thoughts and wrapping up

(Almost) 100 years of Woolworths

Identity crisis

(Almost) 100 years of Woolworths

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