Music

2014 in music

“If you look at my last three end of year lists, there’s a pattern”
“Yeah some good music with token contrarian pop choices as talking points”

And so here we are again. I tend to start getting excited by these lists around October.

That’s when I realise for those recent six weeks, I’ve only been listening to one thing. It could be a genre or label or producer or style or show or whatever, but I’ve been listening to that obsessively. And I realise I’ve been missing out.

So I start to trawl through magazines, websites, download sites, blogs, friends, whatever. Find new things, draw new links and start on another little mini-obsession.

Most of my tastes over the past ten years follow that exact same pattern. Find something, surround myself with it, lionise everything to do with it and then just as I’m about to feel like I’m drowning in it, I find the new excitement, the next itch.

Sometimes that shift towards the next thing can can be subtle. Leon Vynehall’s album this year grabbed my attention with tracks that reference The Legend of Zelda (It’s Just (House of Dupree)) and The Streets (Be Brave. Clench Fists). Yet it was the lush, rich samples that he integrated into that record that set off a mini-house journey towards more sample-based sounds. And on the way exploring every artist he’d referenced whether through sampling, interviews or song titles.

The shift isn’t always so subtle. When Moodymann’s self-titled album dropped at the beginning of the year, it was in Lyk U Used 2 and Sloppy Cosmic that I found most joy and in both tracks we’ve got the closest allusions to hiphop, funk and broken beat drum loops.

What else is there around this tempo that sounds like this? And so I start exploring. And oh, what fun you can have at the 90bpm mark; still with energy that a lot of house or technoheads might ignore.

And then there’s the new obsessions or journeys which depart entirely from what’s known. The tempo might stay the same but all of a sudden, Point Point’s Morning BJ appears from nowhere. The French producers proving that there’s beauty to be heard in all sounds. Is this trap? Bass? EDM? Whatever it is it captures you in shock and awe for two minutes – and that’s where the real magic happens as the jazz piano introduces the biggest surprise of the year.

Clap Clap are the same with their drums: rhythms that would be at home in mid-to-late 2000s US hiphop. Yet as with tracks like Kuj Yato, those rhythms are layered with these incredible African choral elements and instrumentation that create some really raw.

A pastiche achieved with equal beauty on Rhythm Section International’s debut LP from Al Dobson Jr. Artists like these paved the way so that when I heard Ryan Hemsworth’s Surrounded just a few weeks ago it became an instant replayer rather than one I had to work with to understand.

2014’s been a year with quite a few changes in it for me. I’ve changed job and that leads to little things like a switch away from radio, which means I know very little of the pop music that’s graced the charts this year. As such, I looked out only for the artists I know and love. And with that, it’s Taylor Swift who makes up my “token contrarian pop choices” in this year’s list.

“1989” is definitely my favourite complete Swift work to date. There’s no big Never Ever Getting Back Togethers or 22s, and the middle eight in Shake It Off is one of Taylor’s few truly embarrassing moments she’s ever recored to tape. But as a complete work it’s strong, it reveals a personality that she’s slowly been building over the years.

She delivers the album’s more serious moments with an earnestness that she hadn’t even hinted at before. And her moments of whim are delivered with a style that elevate her away from the saccharine tendencies of most current pop.

I’ve been going out clubbing less this year and I imagine that will show through the list – and if it doesn’t it certainly would throughout my general listening habits for the year. The list is still seasoned with electronic music but it’s the inclusion of, for example, The Monk rather than anything else from Jason Vroon’s new full length that is telling. Lauer’s Stigma and Portable’s Surrender too are both great electronic records but sit more comfortably at home or a late night Uber than in a club.

The list isn’t entirely without it’s dance-orientated moments however. Weirldy, considering I’ve gone out less this year, I’ve listened to more techno than usual. While most of it has been older, pre-2014 stuff, the inclusion of Auden’s Whispers symbolises for me a lot more than just one track in a top-20.

The remix Tale of Us remix of Caribou’s Can’t Do Without You again sits in clubland well, as do the aforementioned entry from Moodymann, Riccio’s insatiable rerub of You Can’t Fight It and Dimitri’s corker of a remix of old Paradise Garage favourite The Boss.

I still can’t work out if I know the vocal refrain in Raumskaya’s U Knew Before and I just can’t remember, or the song instantly created a sense of nostalgia the moment I heard it. Either way, I haven’t been able to stop listening to it.

But it’s Raury’s God’s Whisper that just clenches the number one spot for me. The drums ripped right through me the first time I heard them. The production alludes more to that late-2000s lo-fi indie sound than it does the hiphop moniker that got plastered onto it in the immediate aftermath.

Overall, it’s been an interesting year for me. I worry that my diversions away from what I know haven’t been as stark as usual. And as someone always on the lookout to hear something different and new, I dislike that. If I were the type to make new year’s resolutions, then maybe diverging away from the known might be a good one.

But whatever has been the case, 2014 has been a great year for music. Whether that’s in the surprise bridge between trap and jazz, the sound of Todd Terje not taking himself too seriously, or the whirlwind of emotions Taylor manages to evolve through in the space of three minutes.

Listen to the playlist here (minus Taylor Swift as you can’t find her on the internet anymore).

Top 20 songs of 2014

20. Lauer – Stigma
19. Jason Vroon – The Monk
18. Portable – Surrender
17. Kendrick Lamar – I
16. Auden – Whispers
15. Caribou – Can’t Do Without You
14. GoGo Penguin – Kamaloka
13. Sylvan Esso – Coffee
12. Todd Terje – Svensk Sås
11. Taylor Swift – Out Of The Woods
10. Leon Bridges – Coming Home
9. Moodymann – Lyk U Used 2
8. Leon Vynehall – It’s Just (House of Dupree)
7. Jimmy Chambers – You Can’t Fight It (Riccio Rerub)
6. Ryan Hemsworth – Surrounded
5. Taylor Swift – New Romantics
4. Diana Ross – The Boss (Dimitri From Paris Remix)
3. Point Point – Morning BJ
2. Ramuskaya – U Knew Before
1. Raury – God’s Whisper

Albums of the year (unranked)

Francis Bebey – Psychedelic Sanza
Leon Vynehall – Music For the Uninvited
Moodymann – Moodymann
Taylor Swift – 1989
Tin-Man – Ode

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Food and Wine, September

Provence, September 2014

Elizabeth David’s anecdote about the English still selling olive oil in chemists in the 50s is renowned. Even in post-rationing Britain, the thought of the dishes David covers in French Provincial Cooking, while we were using powdered eggs, must have sounded incredibly remote.

A lot has changed in the fifty-two years since that book’s release. English food is now some of the best in the world.

Elizabeth David, in my mind the world’s greatest food writer, has sadly passed away. And Keith Floyd grew up and made the best food TV there’s ever been.

It is almost entirely in these two figures that my love for cooking was born. Keith Floyd’s style, constant drinking and laissez-faire attitude were inspiring: cooking can be fun.

And through Keith Floyd’s frequent mentions throughout On Fish, On Food, On France and On Britain and Ireland, he said one name more than anyone else’s.

“As Elizabeth David once said,” start so many Floyd stories as it is clear we are watching a man talk freely about someone he idolises.

And so it was natural for me to find myself wanting to pick up a book of hers to see what the fuss was about.

frenchprovincial

I remember opening the pages to its first chapter as she launches into her ode to Provence vividly now. It joins eating lobster for the first time at Bonnie Gull or Iberico jamon for the first time in Stop Madrid Taberna, as one of my three favourite food experiences of my life. Reading about a place.

From that moment on, reinforcing the brilliant exploration that I saw Floyd reveal months before, I have wanted to go to one place more than any other in the world: Provence.

Today, as McDonalds line the streets of France’s capital city and the locals don’t seem to mind, I had to wonder whether Provence would still provide that joy.

Will you still be able to go into a small cafe bar and eat beautiful fruit, wonderfully flavoursome tomatoes or beef slowly simmered in red wine with a zest of orange peel? Or would fast-food have caught up with this part of the world that David writes of like no other?

Strangely, the latter nightmare scenario has not become true. In over 200 miles of driving, around 24 of walking, all the while looking for restaurants and places to eat, I saw just one McDonalds. One.

Drinks in Cucuron

The Provencals take food as seriously as you hope. In Cucuron, locals came out in droves for lunch as the shops shut and we picnicked after a long walk through the vinyards that engulf this village. They return again at night. We drank rose in Bar L’Etang, until it closed early with a lock-in for five or six friends.

One door down at Restaurant L’Etang, we catch a late night meal of duck confit. Served simply with adornings of fat. While mine was cooked unevenly with an overcooked side to it, the Girls had no complaints of theres. We drank rose and then red, both locally sourced and both delicious.

In larger towns, where tourist traps try to draw you in with their almost kitcsch blackboard and chalk menus, you’re left wishing that the restaurants of Piccadilly Circus, Trafalgar Square and Covent Garden served food to this standard.

In Avignon, at Lou Mistrau, the first lunch of the trip, I ate pork fillet served with tapenade and a salad. A Provencal dish of the highest standards. Wonderfully salty, full of flavour and honestly cooked. There was more brilliant rose, with a pitcher costing the same as of a Mojito at a low-level London cocktail bar.

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Afternoon drinking made us temporary friends with a pair who offered one of the best pieces of advice of the whole trip: go to L’Ubu for dinner.

L’Ubu set a very high precedent indeed for the meal of the first night. Red wine was ordered and I had to stop the conversation on first sip, “One moment, because we need to reflect on this wine.”

Full of black berries and deeply velvety, I asked the waiter what it was. “It’s from a friend of mine who lives just outside of Avignon, it’s organic.” No Rhone I’d drank before had been this marvellous.

Despite the red, I had two seafood courses for food. To begin, we had squid with a coriander salad. Floyd or David would have been singing to the heavens about its simplicity and honesty.

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The squid was the most delicate I’d eaten – nothing at all like a piece of food that so often struggles with a chewiness problem. The plat borrowed from the south introducing couscous and sweetness to a simply roasted cod, which tasted of the sea.

In Aix on day three with the heat picking up, we sat in Cafe Cardeurs in Place Forum des Cardeurs, and a cold lunch seemed most appropriate.

A beef carpaccio served with an ice cold beer was a surprisingly refreshing combination in the 29 degree heat. And the tomatoes that were served with it edged ahead as the best of the trip. By mistake I ended up with the same again in a momentary lapse of uncertainty as we ordered dinner that evening in Bistro Romain.

If the architects of Brasserie Zedel were attempting to allude to a certain pastiche of railway cafe and high-ceiling opulent dining, then it wouldn’t surprise me if they found their inspiration here. The carpaccio wasn’t on a level with that of Cafe Cardeurs, but the starter of jambon and the charming staff more than made up it.

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Finally, we arrived in Cassis – the closest to a tourist destination we had found. Yachts lined the harbour, the sands were golden, and the sea crystal clear. We swam, we sunbathed, and we had a late and not-so-petit, petit dejuner for eight euros a piece.

By the time that evening arrived, having nibbled on cheese and swigged three euro rose from the supermarket, we knew we wanted one thing: seafood.

Wandering past lots of places that we thought ‘yeah, we could eat there’, I worried momentarily that we would only find a so-so establishment.

Instead, we found Restaurant Calendal.

Midway through our meal, the Italians who were sat to our side started to complain in English, while the owner came out to see what the problem was.

“The sauce has no flavour, the meat is dry, the pasta is dreadful.” They left shortly after paying just for their wine and a starter between them.

What food they were eating, I couldn’t tell you. Because I was eating bouillabaisse for the first time.

There are few things that will prepare you for a bouillabaisse. The richness and body of flavour in the soup is incredible. The seafood it composes all take on that richness and depth while retaining their own identity. It is quite simply brilliant.

There are people who argue over the dish’s ingredients and some writers claim to favour a tomato-less version: I am not one of them. The fish, which many I did not recognise, were perfect.

So when the Italian couple complained about their food and stormed off in a huff, we took great pleasure in telling the owner that ours was a meal that perfectly finished a trip of very high quality food indeed.

Everywhere – from the supermarkets to the street food markets, from roadside cafes to city bars, and from restaurants overlooking the quietest pools of water – the people of Provence take their food incredibly seriously.

While the larger towns do not shut in the way that Cucuron did in the middle of the day, there were more than just tourists filling the restaurants for two-to-three hours every lunch time, and from six o’clock until midnight in the evenings.

My fears that the globalisation, which I love for bringing different cultures and cuisines to London, would have turned this place into a soulless and heartless entity were completely unfounded.

In over fifty years since the release of French Provincial Cooking, England has become a place where I think you can find the greatest food in the world. More restaurants open in London than I can keep up with and know I would love.

Olive oil is no longer sold in chemists but delis, supermarkets, artisanal shops and the corner shop when you buy your tobacco and four-pack of Stella at the weekend.

And yet, Provence still secured the place in my heart that it did for Elizabeth David fifty years ago. Provence is a country I am returning to next week, next month, next year – or, quite frankly, whenever I get the earliest chance.

 

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Politics

2013 in music and my top 20 songs of the year

TL:DR? Jump to the list

Well that wasn’t a very good year for pop music, was it? We had to wait until November until we were given a half-way decent pop hook (Rihanna’s Monster chorus), but even that was replicating the exact same formula Ri and Slim nailed for the first time a few years ago.

Of last year’s two really big hitters, only Taylor came out with one great tune (“22″), but that was actually from 2012 and Carly Rae was nowhere to be seen.

The biggest summer sellers both used Pharrell in what must have been a very profitable year for him. And both tracks became the de facto back-to-back option for lazy DJs everywhere. “Blurred Lines” provided guilty pleasure plays long after its release and “Get Lucky”‘s brilliance was put to the test of being played to death. Unfortunately both failed. I haven’t voluntarily played either since August.

Elsewhere, Miley Cyrus has encouraged moral outrage across the country by being provocative. She’s outraged more people than even the Daily Mail managed to this year. And last time I checked, it has always been the role of a pop/rockstar to piss off the adults of the world. Teenagers love her and all your outrage is doing is helping her shift records. The only depressing thing about Miley is that she hasn’t recorded a decent tune since Party in the USA. Miley, be as naked as you like, but please get back in the studio with Jessie J asap.

Eminem brought out the MM2, which aside from the Monster was terrible. Kanye’s Yeezus flirted with trap too much to be anywhere half good (Bound 2 being the only exception), and the new Jay couldn’t even manage one good tune.

In RnB, Amel Larrieux released an exceptional album, which is probably my favourite longplayer of the year. It sounds like some late 90s RnB and for that I’m incredibly thankful.

The real blossoms (unsurprisingly for me, granted), were with dance music. Let’s first get the bad out the way. The deep house sound from the past two-to-three years, spurred on by the Jamie Jones’ of the world has entered the mainstream well and proper. MK’s Storm Queen remix was massive but not particularly inspiring (unlike his LDR take), Duke Dumont witnessed relative success for a good few months, and BrEaCh (sp?) saw to it that even the Radio 1 Breakfast show wasn’t without its house cuts. 

But the best thing about deep house’s entering into the mainstream has been the need for the underground to recreate itself (its been long overdue).

Todd Terje was the absolute victor this year. His edit of Lindstrom’s “Vos-Sako-Rv” was exceptional, and so underappreciated (yet when I played it out at a summer party this year, it killed it). But of course his “Strandbar” release has to be the one that constantly turned heads and wowed dancefloors everywhere. And when you got bored of Disko for its more in-your-face piano explosion, Samba took over to bring out the intracacies for months after.

Fort Romeau was my personal favourite producer of the year. In 2012, he was putting out harmless deep house that lounged its way through out soundsystems very unoffensively, but this year – my word! “Jetee” was an absolute banger uniting acid influences, hands-in-the-air breaks with truly melancholic piano in the space of 6 minutes. “Stay/True” was the real glory moment though. Weatherall-esque drugchug taking the acid thing even further produced exceptional tunes at well below the regular bpms.

The love for lower bpms for me this year was created by my greatest clubbing experience in five years (I.e. Clubbing zero one) as I found Rhythm Section. As if by magic at a time when I was getting utterly bored by the London club scene as it was sluggishly playing dull, insipid and uninventive four-to-the-floor house or techno for an audience that needed a head full of horse tranquilisers to appreciate anything more than 15 minutes of it, I found RS.

Rhythm Section, headed up by Bradley Zero, better known as ‘the guy in dreads’ in the Boiler Room videos, changed everything. Here I was dancing to music at anything from all over the world at any given tempo, and it all ignored the paint by numbers house and techno that every other club seemed to be playing. 100bpm never felt so natural to dance to. And my mix of the year is without a doubt the first RS show on NTS I heard: solidifying that early RS sound that I fell in love with: “Stop Bajon”, and “Rising to the Top.”

My love for disco expanded this year in tandem, and in particular with the re-edits scene. Fingerman’s “Too Much” and Late Nite Tuff Guy’s “I Want Your Love” mix (which admittedly isn’t a re-edit) stood out on top, but I could have easily put together a top 20 of re-edits that all sound as excellent today as they did when I first heard them this year, while simultaneously bringing some life back to forgotten originals.

There’s some jazz entering my heard properly for the first time outside of the Miles Davis and bigband canon that previously existed. The jazz influences on the King Krule album in particular were standout for me, and really impressed me with the modern genre-blurring he achieved. Dysnonia blew my mind as to what jazz could be, as did the Sons of Kemet album. My love for both comes from Gilles Peterson who also turned me on to countless other jazz sounds throughout the year.

Looking back, I got into the Philly Soul sound via hearing Tom Moulton’s incredible anthology that I only found this year. Likewise, a new appreciation for Screamdelica was found as I realised there was more to that record than Loaded.

Albums by The Range, Bilal, Jai Paul, Colin Stetson, Fat Freddy’s Drop and Rhye also all left a mark, in the pits of late night bus journeys, early mornings and soundtracks to loosing myself in books.

Vampire Weekend’s new long player was my surprise like of the year. I don’t often find many guitar-heavy albums that satisfying anymore, but the new VW LP was really excellent. The afrobeat influences from the first record are still there but the world music sounds have diversified even more, which was consistently refreshing with an album that got better with every play.

It was a great year for a lot of music. My dance music tastes broadended, RnB and guitar music seeped back in, but after last year’s great twelve months for pop, I was a tad disappointed this year. Still, you can’t win them all.

 

My top 20 songs of the year

20 – King Krule – A Lizard State
19 – Bilal – Lost for Now
18 – Kan SANO – Everybody Loves the Sunshine (Leftside Wobble Remix)
17 – Gil Scott Heron – Bottle (Disco Tech Rework)
16 – Andras – Running Late
15 – Romanthony – Ministry of Love (Andres edit)
14 – Fort Romeau – Jetee
13 – Vampire Weekend – Diane Young
12 – Amel Larrieux – Afraid
11 – Daft Punk – Get Lucky
10 – Justin Timberlake – Mirrors
09 – Chaos in the CBD – 78 to Stanley Bay
08 – For Romeau – Stay/True
07 – Fingerman – Too Much
06 – Late Nite Tuff Guy – Bless the Rains
05 – Taylor Swift – 22
04 – Sons of Kemet – Inner Babylon
03 – Lindstrom – Vos-Sako-RV (Todd Terje Extended Dub)
02 – Paul Simon – Diamonds (Ame Private Mix)
01 – Todd Terje – Strandbar (Samba Mix)

 

Albums of the year

Bilal – Love Surreal
Amel Larriux – Ice Cream Everyday
Dawn of Midi – Dysnonia
Vampire Weekend – Modern Vampires of the City
King Krule – Six Feet Beneath The Moon
Mountains – Centralia
Rhye – Woman

 

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Music

Top 20 songs of 2012

I am a huge fan of lists. To-do lists, checklists, and my favourite of them all – end of year lists.

This is a task I have undertaken before (2011, 2010) and have for some time now been looking forward to writing this years. ‘But it’s only the end of November’ I hear you shout in disdain. Well this is true, but I’ve had a brief look at what’s going to be released in next month and I don’t think much is going to take my fancy. Plus, time is a big factor in this process. It is more impressive that a song from January makes this list than it is a song released last week. Freshness always tricks you a little bit. I digress.

Without much further ado, here are my favourite 20 songs of 2012.

You can listen to them all on Spotify through this playlist.

20. Ultraista – Smalltalk (Four Tet Remix)

I first heard this at the beginning of a mix back in the summer. I then kicked off my October mix with. So it’s fitting that it is at the beginning of this list. Beautiful vocal made even more wonderful with Four Tet’s broken beat.

19. Sebastien Tellier – Cochon Ville

Little of Tellier’s work has ever stood up next to La Ritournelle and it probably never will, but Cochon Ville makes a valiant attempt albeit in an entirely different direction. Made even  better by the most nudity-filled video of the year.

18. Andrew Bird – Spirograph

Most of the music I listen to these days is driven by a beat, typically a four on the floor, but there are odd moments when a man and his guitar still makes it way into my listening. Spirograph is one of those moments.

17. fun. – We Are Young

This was my song of the moment for quite a few weeks after its release. It’s not as big on my listen-to-list anymore, but when it comes on shuffle, it still has its definite pride of place.

16. Kanye West – White Dress

MBDTF is still my favourite hiphop album of all time, but there are moments when I miss the old Kanye. Pre-autotune, pre-terrible albums with Jay-Z, pre-baroque pop and grand orchestration. I miss the College Dropout days and White Dress is a wonderful throwback to that.

15. The xx – Angels

Standout from this year’s album and even through its overuse for television, this remains a great tune.

14. Jessie Ware – Wildest Moments

I had heard a lot of Jessie’s voice through various house remixes this year, but I only recently listened to her music in its original form and wow. Wildest Moments is simply sublime. I’ve only heard it a handful of times but I know it’s going to grow and grow and grow. Of all the British female musicians at the moment, Jessie Ware stands miles above the rest.

13. Dusky – Lost Highway

This has to be my favourite house tune of the year, that I didn’t put on one of my mixes. The synth chords guide this feel-happy tune, but the real highlight is the two part drop after the main break. Listening to it takes me back to summertime even with the rain beating down outside.

12. Otto Knows – Million Voices

I’m not much a fan of progressive house generally, though about once a year a song comes through that’s just in your face brilliant. This will have you smiling from cheek-to-cheek. Particularly amusing is seeing the YouTube comment thread where fans debate how the lyrics should be written (my preference is for Eh Ah etc rather than E A).

11. Stay+ – Crashed

Crashed finds itself at the crossroads of The XX, garage, house and trance. While there are moments that are a little cheesy, the sum of all its parts make for a stellar tune.

10. Hot Chip – Flutes

Hot Chip outdid themselves with their long player this year, an absolute classic in my eyes and Flutes just about clinches my favourite song on it.

9. Todd Terje – Inspector Norse

This was released in January, although it has become such a classic that it feels like it’s been in my life even longer. I’m hit or miss with Todd Terje, but this is hit, hit, hit.

8. Russ Chimes – Back 2 You (Hot Since ’82 Remix)

The original of this is patchy, but Hot Since 82 really make this tune something. Less can be said of his Pete Tong remix.

7. Lana Del Rey – Ride

Dark-pop princess LDR had it pretty good this year and any fears that Video Games would be a one-off were appropriately quelled. Lyrically she is on fantastic form here, and the “I’m tired of feeling like I’m fucking crazy” is one of those incredibly simple moments in writing that could not be written better in any other way.

6. Ry & Frank Wiedemann – Howling/Howling (Ame remix)

Yeah I know it’s cheating to put both in but I love them both equally depending on my mood. The acoustic original is a brilliant example of why more house producers should take the reigns with producing indie tunes, and the Ame remix kills it. Hearing Maceo drop it at Warehouse Project was one of my moments of the year.

5. Julio Bashmore – Au Seve

This song must have been dropped about ten times at Eastern Electrics and I missed all of them. Thank God I heard it dropped at Sancho Panza at Carnival because there was little more I wanted to hear it through a soundsystem from the moment I first heard it. Song of the summer without a doubt.

4. Hot Natured – Benediction

The Hot Natured crew did a remarkable job stopping this from leaking. Every time it went up on YouTube from either Jamie Jones’ closing set at Paradise/DC10 or his essential mix, it was taken down almost instantly. Which doesn’t help when all you want to do is play it on repeat. It does help build anticipation though, and so it unsurprisingly hit the UK top 40. “I feel like our love has found a home” Ali Love sings about his first discovery of Space in Ibiza. I’m sure many will feel the same about this song.

3. Carly Rae Jepsen – Call Me Maybe

“Before you came into my life, I missed you so bad” has been a lyric of much discussion for me this year, because frankly I think it’s one of the greatest lyrics of the year. The kind of allusion to a feeling that pop doesn’t ever usually hit in any context, yet alone with this eloquence or passion. Absolute best part of this song is the break, and nothing else this year comes close to that.

2. Destiny’s Child – Say My Name (Cyril Hahn Remix)

I used to slate Annie Mac for being too mainstream, then I actually started checking our her tracklistings and realised she champions new, underground music extremely well. This absolute gem was one of those championed pieces. I have listened to this song to an almost obsessive degree and it still gets better. The video is here, and if I can blow my own trumpet for a moment, it’s place in my October mix was probably one of my favourite 15 minutes I’ve ever done.

1. Taylor Swift – We Are Never Ever Getting Back Together

I had a hard time deciding whether this, Cyril or Carly should be my number one, but since putting this list together and hearing it in order, I know I was right to put it at number one. Bubblegum pop shouldn’t ever, nor has it ever, been this fucking good. The ‘oohs’ in the pre-chorus make even the most reluctant singers want to burst out into horrendously camp song. The ‘indie record’ line will make anyone who’s ever been remotely snobbish about music, start wondering if they’ve ever done that (yes, we probably have).

It’s just so good. The fact this sits on top of the Billboard Country chart is absurd but hilarious. But it’s the fact it reached the elusive number one spot on the Billboard Hot 100 that is really telling. Let’s hope her career carries on with the same arc that it has so far, because if it does, we could be looking at a new queen of pop.

Post by Joshua Lachkovic

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Food and Wine

on food

I was having a conversation with a colleague last week, where we were both discussing our passion for food.

During that conversation, I said the following,

“When you’re at a dinner table with someone, there’s absolutely nothing else going on in the world apart from the conversation you’re having with that person, and the food that has brought you together. And when cooking at home, the ability to provide that – the setting, the delicious food, and to facilitate that conversation and mood – is wonderful.”

 

As such, this has rather inspired me to start writing about food as well.

One of the reasons that blogging/writing outside of work has taken such a toll is time. Of which, I wish that there was far, far more of it. So if at any stage, as almost every blogger does, I simply stop writing, you will know why.

I don’t plan the writing to be extensive, it will be very bloggy – the shorter and punchier it is, the more likely I am to do it – and if nothing else will hopefully act as a reminder of things I’ve cooked, eaten, and drank that I love or hate. And a mental memo of that kind is always nice.

So without much further ado, you can read the blog here: “Eggs Benedict and a glass of fizz.”

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Film

Notes on James Bond: Goldfinger

Goldfinger

Fantastic, short and sweet pre-credits intro. Realised that this is the second film that the Dom Perignon ’53 has been brought up by name and year. Pocket squares alternative from square to triangles for the first time, and change throughout. DB5 introduced.

Martinis: 1

Sour Mash “but not too sweet please.”

The fight between Oddjob and Bond is brilliant.

Another great drinks exchange:
Felix: ‘Liquor for three’
Bond: ‘Who are the other two?’
Felix: ‘Oh there are no other two’

Overall, fantastic, best Bond out of the first three. Solid storyline, good lines, well-paced, the best story out of all of them even if the nuke Fort Knox plan does seem a little preposterous, although given the economic outcome, fascinating to consider.

Overarching feeling, however, that – if you are head of a criminal organisation/terrorist group – and you get a 00 agent in your hands, you’d probably just kill him.

Which leads me to the interesting point on ego, which seems to be a huge theme. If it wasn’t for the enemy’s ego in needing to impress Bond, then most of the time they’d get away with it. Likewise, if it wasn’t for Bond’s ego, he wouldn’t get ensnared by so many women so often, who typically lead to his downfall (and then so far, happily lead to his victory at the end).

Watching three in quick succession has made me see how formulaic they are.

Definite standout, however, will be hard to beat.

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