I have found a youtube video of the high score entry music from Impossamole:
Now, to my ears this TurboGrafix version doesn’t sound as good as the Atari ST one did back in the day, but its melancholic tones still take me back.
Twenty years? Fuck.
… here’s the new Pipettes single:
Earth vs the Pipettes is a great name for an album.
More soon, er, honest…
All giant robot shows should end on a ballad:
I love Wes Anderson’s movies, and I love the way that his attention to detail expands out of the films, and into the merchandise. I picked up the Fantastic Mr Fox soundtrack CD today, and the cover is straightforward enough:
Open it up though, and the CD itself is imprinted with one of Mr Fox’s newspaper columns:
Take the CD out, and underneath you get this, which is a laugh out loud reminder of one of the film’s running gags.
Beautifully done. Anderson and co are very, very precise in the music for these films (the sleeve notes discuss the genres they went through before they hit the mix of songs for the film), and the packaging echoes that same care and love.
PS: Oh yeah, and here’s a review of the film.
Well, it’s about a month since Blur’s Hyde Park gig, and this being the future gig-goers now get to have an official CD of the night to listen to, also delivered on download which is useful if the posties go on strike because just its the future doesn’t mean it isn’t also 1979 and anyway…
I had a listen. I remembered a few things as I listened and, although I’m awful at writing about music, I wrote them down anyway:
- I hadn’t registered on the day how much Damon’s voice has deepened since most of these songs were originally recorded. I like it. Graham sounds pretty much the same.
- Jubilee would be 32 now. Wonder what he’s up to?
- “Love in the 90s was paranoid.” Ha.
- Early on in this recording the horns seem a little low in the mix, later they’re more audible. In general its a good mix – the crowd singing along rises in the mix for the more raucous crowd participation bits, and drops down a lot lower the rest of the time.
- Out of Time chokes me up. Whatever else you think of Think Tank, that song is a great addition to Blur’s songbook.
- Trimm Trabb becomes a real monster in this version, rattling around.
- Park Life, on the other hand, bounces all over the shop and sounds like total bloody chaos. Phil Daniels quotes himself from Quadrophenia, a 2009 reference to the mid 90s interest in a 1979 film about the 60s.
- Damon’s repeated bellowing of “thank you!” to the crowd seem like an almost involuntary, near overwhelmed bubbling of gratitude.
- “Your mind gets dirty, as you get closer to…” Damon trails off, not saying ’30’. Perhaps because for him, and us, that’s well in the rear view mirror, and sits oddly with a song about sliding into a staid existence. We’ve been there, past it, and we’ve not fossilised yet, have we?
- Damon gets us to say “Hello moon”, reminding me of the karmic cycle of Batman.
- I like the way Blur pack and unpack their songs, tightening up their earlier shoegazy stuff and, in this instance, letting Song 2 expand with a slow, deliberate build. Tense, and release, and jump jump jump for your lives.
- I was absolutely delighted to find, midway through the fantastic extended brass-break, just at a point when I had given hope, that Damon was, yes was, going to do that babbling talky bit in For Tomorrow.
- Has The Universal ever sounded better than it does at the end of this two-hour, career spanning, lap-of-honour set? Arguably no. Blur have reformed, healed the rifts, surveyed their career, presented to us, and it has stood up to that scrutiny. Yes, the peak of Brit Pop was the peak of Blur’s output, but all of their albums have songs worthy of revisiting years later, and put together its a great songbook from a skilled, charismatic group of musicians. “It really, really could happen.”
And it did.
In which case, you need cheering up:
Good luck to us all, we need it.
The Pipettes played a Christmas gig at the Roundhouse in Camden, and it was a pleasure to be there. It was a fantastic gig, the peak of their UK popularity before they disappeared on their American jaunt and re-emerged with a different line-up. So, by way of an electronic Christmas card to anyone reading this, here’s the encore from that night:
Rose Elinor Dougall, AKA Rosay (former) Pipette, is back with her first post-Pips solo track.
OOh, she has highlights now!
Sorry, I mean her new material is musically interesting… blah blah influences blah.
… but the celebrity karaoke soundtrack is great:
Thanks to Iain Hepburn for the reminder of this.
Not really surprising, things like this are probably a niche taste: