Music in the City

Hot on the heels of the Shirley Fringe, this weekend is Music in the City. This year, almost everything was on the Saturday, with only a DJ and some classical music on the Sunday, but there seemed a lot more on the Saturday.

We started with brunch at Thrive, then I went to 94 High Street—the designated ‘rock vault’—to catch Charmtype (Youtube), while my partner went to the medieval merchant’s house for a mix of protest songs, folk, and sea shanties.

After this, I went to the bandstand in Palmerston Park, which had been named the Andrew Cummings Stage. (I have no idea who he was.)

First up there, I caught Exhilaro, who opened with a cover of Metallica’s ‘Creeping Death’, then played a bunch of their own songs, including I think ‘Chains’, before finishing with another cover (Sepultura’s ‘Territory’). I guess we were lucky to get these old school covers, because a Youtube recording began and ended with KoRn and Limp Bizkit instead. Anyway, not really the kind of thing I listen to much these days, but they were pretty good, especially given that they seemed fairly young. (They were also on a ‘teenage bands’ bill at Planet Sounds later in the afternoon.)

Next Hail, who are a symphonic metal band, in the style of Nightwish. Again, maybe not exactly my cup of tea, but I thought they were quite good. After that, I took a quick break to nip to the loo/shops, so I missed most of the Andrew Cummings Tribute (which seemed to be performed by a mix of individuals from various acts), though I did return in time to see a male-female duet of ‘Love You to Death’ featuring the singer from Hail. The last of the acts that I caught at the bandstand were Shiversa (Youtube).

After that, I headed to HMV for Dandelion Chain, a post-punk/goth outfit who probably would have been better suited to one of the underground vaults (or a crypt…) rather than performing in daylight. Youtube clip here, though it doesn’t capture the frontman’s more energetic dancing.

Finally, for me, another set from Beardos and Weirdos. Unfortunately, it was basically a truncated version of the Fringe set that I’d seen twice last Saturday (though we did get the uncensored version of ‘You Oughta Know’). They left a few songs out, presumably for time reasons, though it turned out that they had time to add ‘Gone Away’ and ‘Weak’ at the end (but we still missed ‘Plush’ and ‘Today’).

Fringe benefits (part 3)

We did catch a couple of bands on Friday, though I don’t think one of them was actually part of the Fringe – we were mainly out to watch the football. But we completed our Fringe experience on Saturday.

First, back to Clockwork (again) for a solo session from Waldo Salt’s frontman, which featured a good few covers (my favourites ‘In Between Days’ and ‘Enjoy the Silence’) alongside originals. Then it was down to the Wellington Arms for cover band Beardos and Weirdos. I’d been listening to them a bit on Youtube, so wanted to catch that set.

After that, we took a quick shopping break, before going back to Clockwork. First up was a singer-songwriter Roger Shephard. I’m not sure how old he was, though he told us some of the songs he played were written (by him) in the 1970s. He did open with a cover of ‘All the Small Things’ and close with ‘Boulevard of Broken Dreams’. He was followed by a second set from Beardos and Weirdos, though it was the same set list as before. At least they had a bigger audience this time around.

B&W setlist (from memory):

You Oughta Know (Alanis Morisette)

Man in the Box (Alice in Chains)

Weak (Skunk Anansie)

Gone Away (Offspring)

High and Dry (Radiohead)

Drive (REM)

Plush (Stone Temple Pilots)

Today (Smashing Pumpkins)

This is Love (P J Harvey)

Glory Box (Portishead)

Fringe benefits (part 2)

Day two of the Fringe. Today, we had dinner at Bites of India, before heading back to Clockwork for three more musical acts, interspersed with poetry readings.

First up, Scarlet Grig. Not really my thing. I found her vocals a bit screechy on the high notes. I wasn’t sure what to expect from the poetry, but enjoy Andy White’s slot, especially his care instructions for a small rocky planet. The second musical act was Wonderlux, though it turned out to be just the singer performing solo. She told us she was performing mostly new material, but it was all new to us anyway.

 

Then there was another poetry slot, read by Anita Foxall, which I didn’t think as good as the first. Finally, Teenage Waitress, which it turned out was also a solo act. Our favourite of the three musical acts, though I can’t remember what many of the songs were about, besides for one about a headless chicken…

Fringe benefits (part 1)

Today was the start of Shirley Fringe. We had dinner at What a Pizza, then headed over to Clockwork bar for music. There had been a late tweak to the line-up, so we’d just missed the start of Simon Maggs and People Like Us, but we were just able to get a seat. They weren’t really my thing, though not bad either. A cover of Glory Box was a surprise.

The main thing we’d gone for was to see the Guillotine Union Boys again. 

We’ve seen them a couple of times before at Urban Wild festivals, so we knew what to expect and weren’t disappointed. Perhaps the most notable point of the set was Bound to Lose dedicated (in a fashion) to Nathan Coftas, for his part in the Jason Arday case.

For those about to rock(grass)

I'm heading back to Southampton today, after a couple of weeks in Essex/Norfolk, but last night we finished our holiday by seeing Hayseed Dixie at Sheringham Little Theatre (a complete surprise to us - we didn't know they were playing until we arrived in Sheringham).

I think it was my first experience of an all-seater gig and, unfortunately, we were near the back (there weren't many tickets left when we bought them). Consequently, we didn't have the best view or photos (heavily reliant on zoom).

I think they only played three AC/DC songs: Dirty Deeds; You Shook Me All Night Long; and Highway to Hell. (Links are to Youtube videos of live performances, but not from this show.) There was a smattering of other rocking songs from the likes of Guns n Roses, Judas Priest, Black Sabbath, and Motorhead.

We did manage to get closer after the show though - I bought a CD (also available on Amazon) and managed to get all four members to sign it.

This is the end of this leg of the tour, but they have more shows in the autumn, including one in Southampton. I don't know whether we'll bother seeing them again so soon, but it was good to catch them once.

Urban Wild 2026

It's a scorching bank holiday weekend, which also marks the start of half-term I gather. There is a series of 'urban wild' events taking place across Southampton, including a festival today on the Common.

We saw several acts, including...

The Red Star Socialist Choir, who did several numbers, including a song about diversity to the tune of YMCA.

A folk group, Angling for Farthings, who played several songs with a local connection, including one about cabin boy Robert Parker (who was victim of cannibalism).

Shanti Green who did sea shanties. Perhaps they should have done the Robert Parker song, though they did do a version of the Wellerman (not this version though).

And, finally (before we left), The Guillotine Union Boys - another political act, singing about (inter alia) fascism and Elon Musk (two different songs) and a version of Which Side Are You On?

Halocene VIP

It’s been a long time (as in, 10-15 years) since I last went to a gig, but last night we went to see Halocene playing a support slot at the Engine Rooms, following their festival appearance at Download. It’s not every day that an unsigned band from Tennessee makes it over to Southampton.

We paid extra for VIP tickets (more than the tickets actually), which were supposed to involve a meet and greet before the show. We were told to turn up at 6 (an hour before doors), so got there about 5:45, only to be left standing outside – and wondering whether we were in the right place – until about 6:30, when the small queue in front of us finally started moving.

Then someone came over and called my name out and took us to one side. He explained that we wouldn’t have the usual meet and greet experience, because we were the only two who’d purchased VIP tickets for this show, so instead he took us over to the band’s tour bus, where we got to sit and chat with Brad and Addie (a short conversation, but covering music we like, things to do in Southampton, and the differences between ducks and geese). Then we got given our exclusive VIP t-shirts and a photo opportunity outside:

I wished afterwards that I’d asked for a photo in the van, but never mind. We were escorted into the venue to wait for the show.

It was a bit of a wait, but when they finally took the stage they blasted through ‘Just Won’t Die’ followed by a cover of ‘Killing In The Name’ – where Addie had the crowd singing along, ironically doing just what she asked. The set was mostly originals, including ‘Repent’, ‘This Is Our War’ (my partner’s favourite), and ‘Maleficent’ though, sadly, they didn’t do ‘Devil Inside Me’ (which is one of my favourites).

They did throw some other covers: ‘Unholy’, ‘The Kill (Bury Me)’ (which was largely Addie solo) and then finished the set with ‘Chop Suey’ during which Addie got down into the crowd.

It was a shorter set than I’d like, since they were only the support act for the night (with Atreyu headlining). They’re playing their own headline show in Brighton tonight, but sadly that’s a bit too far, especially given that I’m off to a conference tomorrow while my partner has exam boards to deal with.

Perhaps one day we’ll get another chance to see them in person but, until then, I guess we’ll have to stick to their regular streams.

Edit: This video is a similar set from the same tour.

Layne Staley Day

 Today marks the second anniversary of Layne Staley Day. (I use this phrasing because it seems the day was a one-off in 2019, rather than an annual thing.) In any case, here's a tribute:

Slave labour?

According to Robert Nozick, income taxes are (on a par with) forced labour, since a portion of someone's work time is spent working for the benefit of others.

Now John Lydon - a.k.a. Johnny Rotten of the Sex Pistols - has gone a step further. He claims that an agreement between band members that allows a majority of them to licence is like slave labour.

I'm not sure exactly how this claim is supposed to stand up. He's not being forced to work, even if the results of his former work are being used in ways that he disagrees with.

In any case, it's interesting - from a decision theory perspective - to see him objecting to majority rule and insisting that agreements ought to be unanimous.

A unanimity rule would also give each band member equal power in the abstract. However, it is non-neutral, in that it favours non-licensing over licensing, which may be more in accordance with the preferences of some members than others.

What Is 'A Song'?

It seems that BBC 6 Music recently produced a listener-voted poll of the Top 100 songs of the last ten years (the time the station has been in air). I'm not going to dispute the choices (de gustibus non est disputandum), but it did seem odd to me that the Top Ten included at least one cover version, specifically Johnny Cash's version of 'Hurt' (originally by Nine Inch Nails).

I don't know what the identity conditions, or ontological status, of a song are. But ordinarily I'd describe Cash's 'Hurt' as a new version of the same song, not as a new song. And, if it is the same song as the one NIN released in 1994, then it doesn't seem that it should be eligible.

Perhaps this is over-restrictive. Perhaps new (re)interpretations should be counted as new songs, rather than variations on old ones (though I don't think it's how we ordinarily speak). But, if this is so, I wonder how much has to change for the song to become a new one.

Nine Inch Nail's And All That Could Have Been live album was apparently released in March 2002, so also too long ago, but had that been a year later would that have counted as a new song of the last ten years? Taken to the extreme, is every new performance a new song? If so, I'd suggest that there are some real classics missing from this list of songs...

Nirvana 20

For some unknown reason, I had some Nirvana songs stuck in my head on Friday, despite not having listened to my old Nirvana CDs in some time. It was quite a surprise then to walk in to Tesco on my way home and see them on the cover of Kerrang! It turns out that this Saturday was the 20th anniversary of Nevermind; a fact K! commemorated by means of a special tribute CD (which was much better than I expected actually). A more expensive souvenir is this 5-disc box set (£75!), though there's also a 2-disc remastered version of the album at a more reasonable price.

Amazon Sale

Christmas is over - time for the Bozing Day sales. I just picked up Oceansize's Home & Minor EP/mini-album for a bargain £1.99!

Amazon Speculating

If you leave items hanging around in your Amazon shopping basket, you'll occasionally find notifications that they've changed price (particularly if on sale). This in itself isn't too surprising, though I do find it odd that sometimes things change by just a few pence and wonder whether it's really that important. I assume some of the fluctuations are linked to exchange rates, though that probably isn't all.

Anyway, this can make it rather hard to know when - or even whether - to purchase. I've recently noticed several items in my basket gradually edging downwards, but periodically one will shoot up drastically. This means that, on the one hand, there's an incentive to wait hoping for further falls, but also an incentive to buy once you're happy that the price is low enough in case it rises.

A month or so ago I bought this for £4.09 only to find it's now fallen to £1.86. On the other hand, just today I received this, which I'd caught at it's lowest price (£1.76) days before it shot up to £12.99. It seems that prices, like those of shares, can go either up or down. I'm curious whether there's any pattern to it though - and would welcome insight from anyone with knowledge, or even a hypothesis.

I've heard that Amazon may be deliberately trying to gauge customers' price sensitivity. I wouldn't have thought it would be particularly worth their while, but it occurs to me that I have no way of knowing whether price discrimination is occurring (Do I get offered what's in my basket at a different price than others? It would be possible to check, by logging out, but I've never tried...)

In any case, there's something curiously satisfying about the feeling that you got a bargain, whether by skill or luck - but caveat emptor.

UPDATE (23/7): Scored a pretty decent success today. Just found four albums before dinner that looked interesting and decided to take a punt at £7.28 the lot. By the time I got back from dinner, three of them had gone back up to normal, full price (between £10.49 and £14.49) so the same four would have cost over £40. Bargain!

Earthtone 9: Free Download

I completed my collection of the Earthtone 9 back catalogue about a year ago now. A nice nostalgia trip back to circa-2000 British metal. For anyone that missed out first time round though, they've released a best of collection that's available for free download here. Particularly recommended 'Tat Twam Asi' and 'Amnesia' (yes, I much preferred the later more melodic stuff).

Free MP3s

I recently touted Amazon's spring bargains, but it gets even better. I noticed a while ago that they were recommending me some free MP3s. It seems that they have a small, but rotating, selection of free MP3s.

I've yet to have anything particularly exciting from them, but (along with iTunes' free single of the week) it's a good way of getting exposed to some new artists. Particularly notable at the moment though is this somewhat random 7-song sampler, featuring Holly Golightly, New York Dolls and Rocket From The Crypt.

(Disclaimer: I've recently joined Amazon's associate scheme, in the hope of earning a few pennies from this blog, but I won't get paid any commission for you downloading free music!)

Amazon Clearance

No, this post isn't about deforestation but rather the popular online retailer. Last week I noticed - quite by chance - some quite fantastic clearance items in their music bargain section.

With the demise of Virgin and Borders, it's been a while since I've come across anything similar on the High Street, but I've acquired several pretty good albums as a result of taking a chance on something that I didn't know because it looked promising and was only a couple of quid. The danger of having all these bargains online - along with the possibility of checking out online reviews, YouTube, Spotify and Last.fm - was that I ended up buying quite a few albums, but mostly for under a pound. I figure that makes it hard to go too far wrong...

Ok, mostly they were things I've never heard of, but there were a couple of exceptions. Albums by HIM (this one seems not to show up in searches and to have come down further since I ordered it), Travis and Natalie Imbruglia for under £2.50. Some that I ordered seem to have reverted to their original price (like this one) or gone out of stock (like this one), so I'm glad that I got in when I did.

A few others worth mentioning which - at time of writing - are still available at great prices (around £1 each) include the Electric Soft Parade's The American Adventure and Eighteen Visions' self-titled. If you're that way inclined, a 2CD dance/rock compilation from Cream - featuring artists such as Goldfrapp, The Egg, Depeche Mode and Bloc Party - for just 88 pence (though, to be honest, I found this a bit disappointing). For those whose tastes differ from mine, Busted or Desperate Housewives soundtrack, and loads more obscure stuff, such as this Cambridge-based compilation.

One warning to anyone browsing through is that some of the titles listed are actually singles, and thus not always so much of a bargain. Further disclaimer: I've recently joined Amazon Associates. I was planning on mentioning this sale anyway - as I have done before (e.g. one, two) - but using the links above to purchase may earn me money.

Incubus

I can't remember off hand the last time that I either went to a gig or got some use out of my Union membership, so when I saw that Brandon Boyd and Mike Einziger of American rock band Incubus were speaking tonight, I thought I'd go along. I do own several of their earlier albums - Fungus Amongus, SCIENCE, and Make Yourself - though I haven't really followed their career too closely since and wouldn't say that they were one of my favourite bands.

Unfortunately, not all of what they said was very audible from the back of the debating chamber and some of their comments seemed to be rather banal platitudes about music being a universal means of communication, etc. They did, however, shed a little light on their personal lives - Brandon telling of his first kiss, age 12, on Hallowe'en to The Cure's Kiss Me Kiss Me Kiss Me and Mike of how music helped him through a serious car accident, much as others may turn to religion. In response to a mixed bag of questions, Brandon revealed that he's happy for people to hear their music any way (though it's better if they buy it) and they also spoke highly of Lollapalooza (both seeing Soundgarden, Pearl Jam and Ministry in 1992 and performing in 2003).

The real treat of the evening was a disappointingly short two person set, in which they played a new song called (I think) 'Tomorrow's Food' and 'Drive' - I'd forgotten just how good that song is...

Music as Cure

One aspect of art and society that Plato wanted to regulate was the musical modes, suggesting that the ideal city should only allow those that breed good characters. It's now been shown, not particularly surprisingly, that music can affect blood flow and breathing. This suggests that it may have medical uses. I wonder why such studies are always done with classical/operatic music though?

The Watermarks

A useful advert on facebook directed me to this Texan band, The Watermarks. You can download free songs here. Eelctro-pop-rock I'm quite liking it...

Sex and Art

A while ago I commented on findings that men are less able to recognize cute babies than women, saying "I am... curious as to how this finding was reached, as opposed - for example - to the idea that the babies aren't actually cute or that the standards/criteria of cuteness employed by men and women differ".

Maybe I was on to something, because now it seems that men and women judge whether art is beautiful in different ways as well!

In unrelated news about sex and art, teenagers who listen to sexually explicit/degrading music seem more likely to be having sex. I guess this could be another excuse to wheel out the Plato and censorship debate, although we'd really need to establish causation rather than mere correlation.