Re: A Note On The Midnight Beast
Your non-review of the Midnight Beast’s album, and removal of all previous mentions of Stefan’s work with the Clik-Clik etc smacks of a book burning mentality more usually associated with religious fanatisism or state dictatorship. Something akin to those Americans who built bonfires of Beatle records because Lennon did something they didn’t like, or to get more recent, the shambles which is the Pussy Riot trial in Russia. It’s censorship of the worst kind. If you don’t like something, I’d suggest you learn the basic rules of journalism and comment, and report honestly and constructively without striking a ridiculous authoritarian pose.
The Midnight Beast write, play, record and produce their music in a genuinely home-grown way. The success they have achieved to this point has been on the back of a lot of hard work.They are not propped up by third party writers, producers, image makers, and autotuned voices. Like them or loathe them, they are real. Stefan in my opinion is a genuine writing talent. You end your note with “We’ll probably write about Stefan again at some point when he’s doing something else”. I hope when that time comes he doesn’t give you the time of day, because you won’t deserve it.
So as far as your ‘Note On The Midnight Beast’ goes, and to re-use your low level metaphor, It is the Popjustice pancake which is covered in shit here. Will you print this letter? I rather doubt it, as it seems you prefer to censor that which you don’t like, rather than report.Love from Richard Thomas
Re: Back in my day…
What has actually happened to artists making a full album?
They’re either half finished (One Direction, Olly Murs), released throughout the space of 6000 years (Robyn, Diana Vickers),or are just proper shit (Sweet 7).
And who in their right mind would release an album exclusively to Tesco?! That’s the Irish for you. Silly Nadine. Silly, unpopular Nadine.
I suppose I’m just pissed off with the way music is released today. People do actually still buy physical copies of albums today. Can’t we go back to the days of Billie Piper and Vanilla (okay, maybe not Vanilla) when people creamed over when a new single was out? Now file sharing has ruined it.
Shit, I’m starting to sound like Lily Allen.
I have a penis and I have an opinion.Love from Kevin Symes (Liverpool, England)
Hello Kevin. Good to hear from you. Basically if we went back to the days of Billie Piper we would never know what it was to enjoy a Nicola Roberts b-side, and we can surely all agree that whatever terrible trials modern pop fandom throws our way, they're all worth it when you listen to that solo version of 'Memory Of You'. Also, your comment about the Irish was very rude. Think of everything Ireland has given us. Louis Walsh. Bryian McFadden. Edward Grimes. Think on, Kevin. Think on.
Re: The whole United-Kingdom-Music-Not-Being-Released-In-The-Unites-States ordeal.
Here’s the thing (we started out friends), I love your blog and I talk about it all the time and I follow you on twitter and all that good stuff, but I’m starting to get really pissed off. Here’s why:
This blog has showed me some AMAZING music like Amanda Mair, Ellie Goulding, Emeli Sande (even if she did pull a Jessie J with her album), Olly Murs, The Wanted, and Cheryl Cole. Showing me all this music opened the door for me to explore more British music (I do realize Amanda Mair is NOT British and that Siva from The Wanted is NOT British either) and I now consider myself a devout fan of Girls Aloud, Sugababes, One Direction, etc (you know all of the RULL GOOD British stuff). But the problem is, most of this music is never released in the US.
This is a problem. It obviously created a a big piracy problem on my part, which then filled my computer with viruses (along really good songs as well) and a dependency on piracy websites which, due to the recent piracy SOPA rubbish, have been shut down. Now I have become isolated from British music not released in the US. This makes me terribly sad.
Sure, The Wanted and One Direction are taking over on this side of the pond too, but it’s not quite the same. Having “The Wanted EP” just doesn’t feel as exciting as having Marina & The Diamonds’ (which I love to death but failed to mention earlier) debut album imported from the UK before it was released in the US. It just felt so good opening it up and thinking that I was holding something special.
But anyway, the point is: ALL THIS GOOD MUSIC IS OUT, but I can’t download it. At least not in some way that’s not a youtube-to-mp3 website. Olly Murs? Gotta wait for his release in the US. Example? Not even here. Cheryl Cole? NOTHING (this is a crime, tbh). Nadine Coyle? She’s slacking, only “Sweetest High” is on iTunes (and it’s quite rubbish). Aiden Grimshaw? Not even here (but let’s give him time to flourish, so nevermind that).
I’m sick and tired of having to wait for months or even years for brilliant UK music to reach the US. It’s exhausting! Can you believe that the most recent Girls Aloud album released here is “What Will The Neighbours Say?”? Seriously. I know you folk up in Popjustice have somewhat of a status over there so this is what I want you to do: talk to all British labels, have them release all of their music in the US digitally, have champagne to celebrate. It’s no big deal, really.
I’d also like a badge, but considering I live in another country and what with shipping costs and all, I’ll do without it. I just want a little bit of acknowledgement. But the badge would be nice. But whatever. Or if you really feel for me you could send me “Electra Heart,” but it’s whatevs.
The only thing keeping me from suicide is the fact that we totally stole The Dolly Rockers. This is what helps me sleep at night as I listen to Lana Del Rey.
Thank you for inspiring this music-loving teen from states.Love from Jaime Garcia (Bakersfield, California)
We've tried talking to labels about this in the past. They start banging on about how there might be a chance that a band could promote their material abroad at some point in the future, so they don't want to lose any sales by making stuff available too early. They talk about how international labels don't want the hassle of releasing too many extra things. They make all sorts of excuses.
It's annoying, but you can sort of see the first point: unless you're a big international artist already (like Katy Perry or whoever) the idea of floating a release out there when the act can't promote it in each country is, in many instances, as good as consigning the release to the pop dustbin.
Thing is, though, it's obvious Girls Aloud (to go with your example) will never release 'Chemistry' with a big push in America. The record was six years ago, for a start. Chances are the band will never try to break America again. That moment has long since passed. So why can't someone at Universal just tick some boxes in an online form or whatever it is they do and make their entire catalogue available in America? There is literally nothing to lose. Or is there something to lose?
We don't know - we'll try to find out for you. In the meantime, there's a badge on its way.
Re: The Ultimate ‘Lady Gaga’ Playlist?
I quite enjoy Lady Gaga, despite her Highway Unicorn business and cycling up hills thinking of ‘little monsters’ etc etc.
This enjoyment led me to create a playlist which I believe could very well be ‘ULTIMATE’. I would like your opinion of it, because I need to be validated by those who comment on amazing pop music.
Here it is.
Paparazzi: I start with this because it is her best song, and the VMA performance is the greatest since Madonna did a lot of french Vogueing.
Alejandro: It is nice and is poppy but still a bit slow (THIS IS NOT A CRITICISM).
Government Hooker: This is also a bit slow (AGAIN NOT A CRITICISM) but it is slightly heavier and whatnot, so here comes my first quandary. Does this come after Alejandro OR does…
LoveGame: …which is also a bit slow and a bit mental? The problem is that Government Hooker should come out of Alejandro, but LoveGame should also come after Alejandro then lead into…
Scheibe: …because this is a bit mental too, but we’re speeding up now, and it has a lovely Madonna ‘female/rebuke’ thing in it, which is nice. The next few are ULTIMATE, and this is now the ‘romperstomper’ collection:
Poker Face: Amazing.
Bad Romance: Amazing.
Judas: Amazing, and it also ends the most suddenly, so its perfect to chance course and get into what I now dub the ‘SUPERSLOW’ collection, with:
Bloody Mary: This was the best ‘slowgag’ of the lot on the new album.
Marry the Night (The Weeknd Ilangelo Remix): Remix alert. (I have later included two further remixes, they are good.)
Paper Gangsta: This was the best ‘slowgag’ on the other album, also a bit Stefani-ish vocals which is always nice. But that’s enough of that, here comes what I have called ‘PARTYFUNTIMEGaga’, where we have Gag at her most playful:
Eh, Eh (Nothing Else I Can Say): Yes, amazing.
You and I (Mark Taylor Remix): As PJ said, its like Shania Twain and things and all kinds of fun now. I wasn’t too keen on You and I before this remix, but now it is very good.
Alejandro (Sound of Arrows Remix): Summery and all that business, is it fair to include two versions of Alejandro I hear you cry, well yes, I think they are very different beasts, and both amazing beasts in their own right, so yes. Beasts.
Born This Way: Amazing Song > ‘OMGHOWDARESHEPROCLAIMHERSELFQUEENOFTHEGAYS’. This leads us into the section which I have dubbed ‘EXPLOSIVE FINALE SECTION’ which is brilliant:
Dance in the Dark: WOWDKXFJSLKFJD.
The Edge of Glory: AMAZING.
There we have it, the ultimate GAGA playlist, do you have any agreements, alterations or even STRONG disagreements? I would love to know, as you are the ZENITH OF POP COMMENTARY etc.Love from Christopher (Cardiff)
Hi Christopher. You dealt with the 'Alejandro' / 'LoveGame' / 'Government Hooker' crisis well. We'd suggest you leave all three of those songs in. There's no problem with the remixes; we agree that the Sound Of Arrows one, particularly, is rather extraordinary. Any omissions? Well we'd have liked a bit of 'Bad Kids'. Other than that you've got 'Bad Romance' only once, so we suggest you finish with a second spin of that as a sort of 'encore'. Good work though.