Sometimes it takes a re-issue of old albums to rediscover a musician that you’ve been out of touch with for a while. So it was with me last week. When a couple of re-issued Nick Cave and the Bad Seeds albums landed up, re-mastered and with bonuses such as DVDs in tow, I revisited Nick Cave and after the first couple of tracks on the re-issued Dig, Lazarus Dig!!! (originally released in 2008), I wondered how on earth could I have let so much time elapse before I re-heard Cave’s music. Read more
As I write this (and roughly a week before you read it), the mother of all music festivals is underway at Austin, Texas. It’s the South by South-West festival, commonly referred to as SXSW, and has been on for the past 23 years. In 1994, in addition to music, SXSW included film and interactive media conferences and has now become an important fixture on the world’s film festival circuit. But it is the music that is at the core of SXSW and what really excites me about this annual festival that happens in March. Read more
The first Sigur Rós album I heard was Ágætis byrjun, which means ‘an all right start’ in Icelandic. Sigur Rós are an Icelandic band that plays a genre of music that is classified (by those who love to classify such things) as post-rock, minimalist, ethereal music. I found Sigur Rós’s music mainly downtempo and soothing but also sad at times. I heard several of their albums, including the curiously named () (released in 2002), Takk (in 2005) and Með suð í eyrum við spilum endalaust (2008). That last title translates into ‘with a buzz in our ears we play endlessly’. Nice, isn’t it? I don’t know why, but the band’s music sometimes reminded me of a huge, widescreen film where the camera is static and the visual is of a wide open landscape.