The Kiss Me, I've Quit Smoking Festive Fifty!

Shitting crikey, it's...

THE KISS ME, I'VE QUIT SMOKING FESTIVE FIFTY!

This has been a pretty good year for music, all told, and given that I'm the neurotic, compulsive-listmaker type, what better way to see it out than to attempt to channel all of that good music into a handy top 50. The rules are simple - no more than one song per band, singles from 2007 albums are alright, but nothing from reissues.

As for how long it took to get everything into order...well...iTunes helped remind me just how much good stuff came out this year, then it just took a bit of rearranging ("Well I know I don't like that song more than that one..."), so it's worryingly accurate. There are a few things that would have made the final cut, had I had enough time with them (I'm looking at you, Kanye West and Parts & Labor and Chinese Democracy...), but I'd call this a pretty representative...er...representation of my 2008 via the medium of pop music.

Oh, and I really wanted to put "49:00" by Paul Westerberg in there, but it's like...one 45-minute track made up of bits of shorter songs (a bit like a one-track version of Alien Lanes), so it doesn't really fit in here. Suffice to say it's one of the best things I've heard all year, and you'd just be depriving yourself if you don't track it down.

So...yeah, here goes nothing...and if you want a zip file of this nothing, click here. (They aren't going to be in order in the zip file, mind)

1. Los Campesinos! "We Are Beautiful, We Are Doomed"
2. British Sea Power "No Lucifer"
3. Deerhunter "Nothing Ever Happened"
4. Frank Turner "I Knew Prufrock Before He Got Famous"
5. The Lodger "The Good Old Days"
6. The Hold Steady "Constructive Summer"
7. Weezer "The Greatest Man That Ever Lived (Variations on a Shaker Hymn)"
8. Elbow "Grounds for Divorce"
9. Johnny Foreigner "DJs Get Doubts"
10. The Wave Pictures "Strange Fruit for David"
11. Nick Cave and the Bad Seeds "We Call Upon the Author"
12. Frightened Rabbit "Old Old Fashioned"
13. The Long Blondes "The Couples"
14. R.E.M. "Living Well is the Best Revenge"
15. She & Him "Why Do You Let Me Stay Here?"
16. Silver Jews "Strange Victory, Strange Defeat"
17. The Mountain Goats "Lovecraft in Brooklyn"
18. Fosca "Confused and Proud"
19. Juliana Hatfield "The Fact Remains"
20. The Pains of Being Pure at Heart "Everything With You"
21. Marnie Stern "Ruler"
22. Stephen Malkmus and the Jicks "Out of Reaches"
23. Amanda Palmer "The Point of it All"
24. of Montreal "Nonpareil of Favor"
25. Ben Folds "You Don't Know Me (featuring Regina Spektor)"
26. M83 "Graveyard Girl"
27. Ten City Nation "Everyone's a Tourist"
28. Laura Hocking "Loves of a Girl Wrestler"
29. Be Your Own Pet "Becky"
30. Why? "Fatalist Palmistry"
31. Black Mountain "Stay Free"
32. Future of the Left "The Hope That House Built"
33. Hercules and Love Affair "Blind"
34. Wild Beats "The Devil's Crayon"
35. Duffy "Warwick Avenue"
36. Times New Viking "(My Head)"
37. Robert Forster "Pandanus"
38. Dexy "Dying Breed"
39. The Understudies "Flicknives"
40. The Magnetic Fields "California Girls"
41. Kristoffer Ragnstam "Swing That Tambourine"
42. Spiritualized "Death Take Your Fiddle"
43. Girls "Lust for Life"
44. Goldfrapp "A&E"
45. Mark Kozelek "Celebrated Summer"
46. Alphabeat "Fantastic Six"
47. Glasvegas "It's My Own Cheating Heart That Makes Me Cry"
48. Islands "Creeper"
49. Ballboy "Songs for Kylie"
50. Headless Heroes "See My Love"

Los Campesinos! "We Are Beautiful, We Are Doomed" - the KMIQS review!

LOS CAMPESINOS! "WE ARE BEAUTIFUL, WE ARE DOOMED" [Wichita Records -released October 13th]



"...having been touring the album constantly since its release in February, maybe the band are just getting tired of playing its songs"

Boy is my face red. Call it fate, but within a week of me posting that blog, the news was out that everyone-bar-Steven-Wells' favourite indiepopstars Los Campesinos! were releasing "We Are Beautiful, We Are Doomed", their second album of 2008. Given the aforementioned lack of new songs in their recent sets, the evolution displayed here is somewhat of a shock. For an album released only six months after their debut, We Are Beautiful... shows an astonishing amount of development - our little Campesinos! are growing up.

The album springs out of the gate with "Ways to Make it Through the Wall", a typically exuberant opener to rival the sonic sugar-rush of "Death to Los Campesinos!" - call and response synths and guitars ping across the speakers, while Ollie's drums rampage through the mix. It seems as if it's just another sunny day in Campesinos!-land. But wait a second, let's just check out those all-important opening lyrics, shall we?

"I think it's fair to say that I chose hopelessness/And inflicted it on the rest of us/But at least I've come to terms with my own mortality."

"You! Me! Dancing!" this is not.

"Ways..." perfectly showcases LC! 2.0 - the sugar content of their songs remains the same, but there's a caustic wit ("The guy singing all the sad songs died - oh well, I guess he was right!") that was absent from their debut. Likewise, the musical arrangements have a welcome sense of complexity - time and key signatures dart around - and it's a lot harder to tell when a chorus is going to come, making it all the more effective when the song's many refrains do kick in. Likewise, the lyrics of the stuttering-yet-swaggering "Miserabilia" bemoan post-relationship sentimentality - in much the same way "My Year in Lists" did - and sees Gareth "down on [his] knees next to urinals in garish Mexican restaurants", before jumping up to sneer contemptfully at the listener - "SHOUT AT THE WORLD BECAUSE THE WORLD DOESN'T LOVE YOU!"*

The last song written for Hold On Now, Youngster... was apparently "This Is How You Spell "HAHAHA We Destroyed the Hopes and Dreams of a Generation of Faux-Romantics"", and its driving rhythm and slower pace inform the new album's best songs. Prefaced by the ambient instrumental "Between an Erupting Earth and an Exploding Sky", "You'll Need Those Fingers for Crossing" is the closest the band have ever come to a ballad - Gareth treats his glockenspiel with more care than it was ever given on the first album, and there's even an tenderly-strummed acoustic guitar propping up the mix - and even when the song steps up a gear three and a half minutes in, it's still more subdued than anything that came before. Lyrically, the track compares a break-up to "a soft-porn version of the end of the world", having pleaded with his sweetheart to "dump me side of the road if I'm too annoying", and by the time the track comes to its close, with the same delayed guitar sounds it started with, you can't help but take pity on poor Gareth. It's the most genuinely affecting moment in the LC! catalogue to date, and will hopefully be a direction they pursue in the future.

"Documented Minor Emotional Breakdown #1", meanwhile, comes across like a missing track from the most recent WHY? album (the wonderful Alopecia) - the song's groove (yes, really - an LC! song has a groove!) is like a laid-back version of "This Is How You Spell...", while Gareth and Aleks's vocals veer closer to Yoni Wolf's pseudo-hip-hop cadences, confronting an offensive ex with the classic question - "Do you kiss your mummy's lips with that mouth?"

That said, the album's true highlight is its title track, which takes what you might call the Los Campesinos! formula and refines it to the point of perfection. It's here that most of the album's most repeatable lines come - "Absence makes the heart grow fonder, fondness makes the absence longer", "We kid ourselves there's future in the fucking, but there is no fucking future" - but these six looooong months on from the debut, it's easy to tell how much better the band are as musicans; rather than giving it their all in every second of every song, everyone seems to know when to hold back and when to break out the party poppers and yell "SURPRISE!". Likewise, Gareth's lyrics have been honed down - gone are the slightly immature and self-conscious references to "a final, fatal LiveJournal entry" or dancing to Bis - with an added sense of world-weariness that comes with touring the globe, tempering even the song's more tongue-in-cheek lines. "I cannot emphasise enough that my body is a badly-designed, poorly-put-together vessel harbouring these diminished, so-called 'vital' organs", he complains, with increasing rage, before letting loose an almost-blood-curdling scream: "I HOPE MY HEART GOES FIRST! I HOPE MY HEART GOES FIRST!" I'm sorry, what was that? Final, fatal what?

Admittedly, a couple of tracks border on self-parody - with its almost-obligatory references to punctuation and crap novellas, it sounds like the band were barely trying when they wrote "The End of the Asterisk", while "Heart Swells/Pacific Daylight Time" is a two-minute, two-part 'epic' which is a bold and admirable experiment in theory, albeit one that doesn't quite come together in practise - but the album coheres surprisingly well, especially given it's brief gestation period. We Are Beautiful... is a short and sweet stereo attack; compared with Hold On Now, Youngster's final track proper "Sweet Dreams, Sweet Cheeks", which finished with the kind of crowd-pleasing chant that left you almost too satisfied with the way it ended, the frenetic "All Your Kayfabe Friends" finishes so abruptly that you'll think your copy of the CD is faulty, meaning that all you want to do is put it on again and see what you missed the last time around.

If Hold On Now, Youngster... flirted with classic status - not only did it top my year-end list after the first time I heard it, but it already made its way to my all-time chart - We Are Beautiful... laughs in the face of the sophomore slump, simply by arriving before speculation about what they'd do next could take place. Admittedly, it's a less instantly accessible collection than its predecessor, but this is no bad thing whatsoever; its ten tracks reveal themselves better over repeated listens - something I never thought I'd be able to say about Los Campesinos! As I said, not all the songs quite stand up, but the ones that do show an impressive step forward for a band who are even more restless than their songs suggest.

7.5/10

*OK, maybe I was exaggerating about the quotability of the lyrics, but the majority of the best lyrics here don't owe themselves to being condensed into simple five-word phrases. My current favourite lyrics from the album have to be from "It's Never That Easy Though, Is It? (Song for the Other Kurt)", a track which begins with Gareth "kissing a girl for class war" and culminates in this scenario: "I walked into the room to see my ex-girlfriend - who by the way I'm still in love with - sucking the face of some pretty boy, with my favourite band's most popular song in the background. This situation then compels him to ask the ultimate hipster pay-off - "Is it wrong that I can't decide which bothers me most?"

----
...obviously I'm not going to upload any of the tracks at this early point in time, so here's what you might call a "rarity" - their version of Black Flag's "Police Story", from the International Tweexcore Underground EP. Suffice to say, none of the new album sounds anything like this.

Next time, I think I'm gonna take a train - Kiss Me, I've Quit Smoking does Indietracks 2008! (Part 2)

INDIETRACKS FESTIVAL, 26th-27th July 2008, Midlands Railway Butterley (Part Two - Sunday!)



Sunday brought with it the meat and bones of the festival, with incredible acts spilling out from every stage...at least once the technical difficulties on the outdoor stage were fixed. Indeed these technical difficulties ended up improving the festival no end; set times were rearranged, and almost every band I actually wanted to see was relocated to the superior outdoor stage. The first band I caught that day were Brontosaurus Chorus, who graced the main stage with their mix of delicate strings and horns with punishing distortion and sugar-coated melodies. Italy's A Classic Education demonstrated why they deserved to win the competition to play the festival, playing a set of propulsive janglepop, akin to the vastly underrated Shout Out Louds. Strawberry Story, allegedly playing their last gig ever, were the only true mis-step of the festival; formed at the tail end of the C86-scene proper, the band's enthusiasm didn't carry across to the subdued Sunday afternoon crowd, who didn't take kindly to the barrage of noise, drum machines and out of tune wailing they were subjected to. Back on the main stage, KateGoes brought their carefree, themed gigs to Indietracks - this time, Kate Goes Stoneage,
so the band donned leopardskin robes and performed a set of shambolically melodic pop music, toy instruments and all.



From then, Indietracks delivered everything it promised; Darren Hayman (backed by The Wave Pictures, more on whom later) played a fantastic, if slightly tipsily abridged, set in the tea tent, for those who didn't make it for his set in the Church the previous night. His set was cut short to make way for The Smittens (above - photo courtesy of jayen_aitch from the Anorak forum) on the back of the Outdoor truck stage. The Vermont quintet were one of the most hotly-anticipated acts of the festival, but I found it strangely difficult to make my mind up about them; their boundless enthusiasm and optimism seemed almost unnatural (or at least a bit forced), but the songs themselves - the majority of which come from their latest album The Coolest Thing About Love - were so irresistibly catchy and fun, that I made a U-turn of opinion with each song. Rocking out where on record they shimmer - a change especially noticeable in the normally-restrained "Sapphire", which became the highlight of the set - the band gained new fans with every song, and by the time of the finale, the band's self-proclaimed theme song "Gentlefication Now! (The La La La Song)" (which was presonally requested by festival curator Stuart), the entire crowd was screaming the refrain back at the band, who looked frankly stunned at the newly-adoring mob in front of them.



Up next were The Wave Pictures (above - picture courtesy of sweepingthenation), and if you don't know my stance on them by now, then quite frankly, I'm shocked and appalled. They turned in a stunning set, opening with a frenetic take on the relatively obscure "I Shall Be a Ditchdigger" (from one of their early CD-R albums), and diving headlong into a set full of hits - though fan favourite "Now You Are Pregnant" was notable in its absence. The only real problem with the live Wave Pictures experience is the number of solos - while each member of the band is an extremely proficient musician (especially guitarist David Tattersall), there's no need to demonstrate it during every song. There's nothing worse than hearing a band say "We've got time for one more song" and thinking how much more time there would have been had each member of the band not pretended to be Neil Young. Still, when that last song is "Long Island", and features a guest appearance from Darren Hayman, it is admittedly somewhat harder to complain.



Piling onto the stage amid an assortment of bells, glocks, samplers and sometimes cramped up two to a keyboard, local heroes The Deirdres were another of the unrivalled highlights of the festival. With madcap songs about Michael Aspel - they once blagged their way onto an episode of Antiques Roadshow - cutesy declarations of love (they could barely get through "Ball in a Cup"'s tongue in cheek lyric "I think he is Batman, I'd like to be his Robin/When I'm his sewing machine, he is my bobbin" without cracking up) and sexual freedom (the almost Los Campesinos!-aping new single "Milk is Politics"), they immediately won the crowd over, as singer Russell indulged in some proper frontman stage antics, much to the rest of the band's amusement. The ramshackle riot show that is The Deirdres is best epitomised by their debut single "Claire, Are We Safe to Be On Our Own?", which came out last year on Cloudberry Records.

From the Truck I made a bee-line for the Church, pulling up a pew just in time to catch Dirty Fingernails; made up of two snarling Scandinavian synthpop siblings...and a drummer named Charlie, the band played a selection of tracks from their debut album, the absolutely boss (geddit?) "Greetings from Finsbury Park, N4" that had slightly more edge than the majority of bands on the bill. Definitely ones to watch out for. After that, it was back to the loco-shed-main-stage to see indiepunkpopstars Milky Wimpshake, another band who don't see stages nearly as much as they should do. The set was chock full of what you might call hits...or at least, crowd pleasers, including the cheaters' anthem "Dialing Tone" and my one-time mixtape staple "Noam Chomsky versus the Ramones", a song about the dichotomy of enjoying political theory and punk rock...at the same time. Hell, every song was a winner, and by the time of the final manic singalong to "Blow Out at 80 Miles per Hour" (all together now - "BLOW OUT!"), the crowd was a sweaty mass of three-chord love.

Ducking out of the main stage sauna for the cool evening air of the truck stage, I was greeted by the most impressive crowd I'd seen all weekend. It could only mean one thing - Ballboy. Sauntering onto the stage quietly, they then launched into the atmospheric tom-tom and synth attack of "Public Park", the only song I can think of that turns the phrase "pooper scooper" into poetry. From there, it was crowd-pleaser after crowd-pleaser, from the bungled bank-robbery caper of "I Don't Have Time to Stand Here With You Fighting About the Size of My Dick" (the purpetrator had been dumped seconds before he was leaving for the hold-up, y'see...) to the heartbreaking could-have-been-a-contender ballad "Songs for Kylie" - inspired by Calvin Harris, no less - every song hit the mark, as the sun went down in the Derbyshire sky. The band were also responsible for one of the most unlikely anthems of the weekend - "Avant Garde Music", an ode to being on the receiving end of music snobbery, which managed to somehow become the cue for the entire crowd to merge into one sweating mass of bodies. Maybe it was an excuse for a bunch of lonely hearts to collectively slag off "the girl who works in the record store", or maybe it was just the right band at the right time, but with Ballboy's set, Indietracks hit its peak.

All of which obviously augured somewhat ill for Los Campesinos!; when once they radiated giddy teenage excitement with every note they played, LC! now seem to simply be going through the motions. Speaking as someone who isn't ashamed to admit to spending the best part of twelve months worshipping them for bringing unmitigated joy and meaning to my life, it really saddened me to see them having to go on after Ballboy - catching the occasional glimpse of LC!'s singer Gareth looking on during their set, it was hard not to imagine him trying to work out how to follow a performance like that. There's no denying that the band (especially Gareth) was happy to be there - his exciteable banter ("I got to shake the hand of Mister David Gedge last night!") made that abundantly clear; it nonetheless seemed like this was Just Another Gig for the band, in spite of their obviously being genuinely humbled to be playing the festival. A large proportion of the crowd also didn't seem to accept how they fit in to the ethos of Indietracks - the only festival in the world that could be headlined by Sarah Records elder-statesmen The Orchids, as it was last year. It's just a hypothesis, but perhaps the old guard felt like the band were too much of a flash in the pan to convincingly pull off playing above the bands who had worked hard to achieve their cult status. Consequently, they would have had to put on quite a performance to overshadow such expectations and doubts.

Well, maybe it's the fact that I've personally played the album to death, but there really did seem to be something lacking in their headline performance. You could, as with the Wedding Present the previous night, chalk it down to the terrible sound on the main stage (as opposed to the outdoor stage where, Strawberry Story aside, everyone sounded incredible), or maybe it was the fact that I was just unhappy at not winning anything in the raffle, which had been drawn just before the band came on. Then again, having been touring the album constantly since its release in February, maybe the band are just getting tired of playing its songs. Aside from the occasional small change in arrangement, there's nothing particularly different from the album, and even the die-hard fans in the crowd started flagging after a few songs. The obligatory universal insanity unleashed during "You! Me! Dancing!" by all sections of the crowd, both old and young, seemed to be a blip in an otherwise disappointing set, sadly bringing a slightly anticlimactic end to what had otherwise been an utterly brilliant and unique festival.

As the midnight train took the last of the punters away from the festival site into the warm Butterley summer night, everyone seemed to be reflecting on the festival happily; chances are they were the lucky ones who managed to get into the shows on the trains, or witnessed the odd surprise show on the platform, but everyone I've spoken to about the festival has had nothing but good things to say. Admittedly, two years in, there's still the odd teething problem (someone really ought to do something about moving the main stage outdoors or something), but all in all, Indietracks is a welcome addition to the festival calendar, and one that has already ammassed its fair share of regulars. Roll on 2009.