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THE journal
7th December, 2009. 11:55 am.
The twenty greatest tv shows of all time.
20. Friends
For a couple of series it was just about the best show on television, for the rest of the time it was just damn entertaining.
19. Scrubs
It may have outstayed it's welcome, but for a couple of years it was one of the funniest shows on TV.
18. The Mighty Boosh
A hilarious, throughly original comedy, good songs too.
17. Ashes to Ashes
A brilliant followup to Life On Mars, but still entirely its own show.
16. Extras
Ricky and Stephen manage to better the Office, one hilarious show.
15. Fawlty Towers
John Cleese is a comic genius, after Monty Python this is the best thing he's ever done.
14. Studio 60 On The Sunset Strip
Perhaps the most underrated tv show on US television, cancelled after just one amazing series.
13. Flight of the Conchords
It would be enough just to have the hilarious songs, but Flight of the Conchords is also fantastically well written, with enough gags to make it throughly watchable, even without the songs, although they're obviously the best bit.
12. South Park
Offensive, rude and oddly sweet, few shows have remained so consistent after such a long time.
11. Red Dwarf
The ultimate nerd comedy, Rimmer will always be a classic comedy character.
10. Lost
The best thing about lost is its unpredictabilty, there's always some new twist they want to throw at you, and usually you don't expect it. Some of the characters are irritating (Kate, Locke) but it's made up for by some excellent characters (Sawyer, Jin). It's one of the most flawed yet brilliant shows on American television.
9. Curb Your Enthusiasm 
Another show that ranges from utterly brilliant, to just a bit too cringeworthy, for the most part it's a masterpiece, Larry David reminds me so much of my grandad, and it just seems to be getting better with each new series.
8. Family Guy
I can't shake the feeling that Family Guy will end up down the same road as The Simpsons, it'll keep going for so long that it completely loses everything that made it great, for now though it's still one of the most hilarious shows on television.
7. State of Play
The bloody brilliant John Simm being bloody brilliant.
6. Spaced
Tim and Daisy will always be two of the greatest comedy characters in television history, it may have only lasted two series but it still made a hefty impact, enough to allow Edgar Wright and Simon Pegg to go on to make Shaun of the Dead.
5. Doctor Who
It was the greatest, longest running Sci Fi series in history, and then they revived it and it was still bloody brilliant.
4. Monty Python's Flying Circus
So funny it shouldn't be legal, the six funniest men in the history of mankind.
3. Blackadder
It just beats Monty Python as possibly the funniest show on british television, or maybe I just have fonder memories.
2. Futurama
The Greatest animated show in history, a million times better than the simpsons, and funnier than both South Park and Family Guy, in fact, it may be the funniest show ever made, every episode is a classic, let's just hope the same can be said when they bring the series back next year.
1. Life On Mars
Utterly original, brilliantly written and oddly touching, Life On Mars ranks, at least at the moment, as my favourite TV show of all time, the legendary John Simm's Sam Tyler and Philip Glenister's classic Gene Hunt are two of the greatest characters ever, only 16 episodes but each one a classic; funny, exciting, mysterious and unlike anything else that came before it.
Read 1 Note -Make Notes
27th October, 2009. 11:19 am.
Tegan and Sara- Sainthood
With The Con Tegan and Sara had started to push past their punk/folk roots to create something more interesting and sophisticated, it was perhaps a surprising success, an album of considerable imagination and skill. Sainthood in many ways refines that breakthrough since it feels like a cross between The Con and So Jealous, their two best albums up to this point. It has the experimentation of The Con with the rigorously constructed songwriting of So Jealous. It takes slightly longer to sink in than those two albums though, since the production and performances at times seemed strained, but ultimately the album is perhaps more rewarding.
That's not to say that there aren't plenty of catchy tunes on Sainthood, on the contrary, it has many of the duo's most addictive and irresistibly catchy songs; I challenge anyone not to love "On Directing" and "The Cure", but the songs are filled with so many harmonies, so many little touches that on first listen they can sound messy, unfinished. On repeated listens the rigorously crafted nature of the songs becomes apparent.
While the duo still largely stick to love songs on Sainthood, the lyrics represented a quantum leap in terms of thoughtfulness, maturity, and complex ambiguities, they tell stories, show us situations instead of telling us what is happening. With lyrics simple enough to remain memorable and catchy; "I know you feel it too/ these words get over used when we get up and over it and over them/ up and over it and over them".
It's not perfect, the production by Chris Walla gives the whole thing a bit too much of a pop sheen, some of the songs could do with being harder edged, especially "Hell" and "Northshore" which despite the punk influence come across a bit too much as just angry girl pop. Also it feels disappointing that despite a series of joint songwriting sessions only one song written by them as a pair appears on the album; "Paperback Head", which only raises disappointment, since it may be the finest song they have ever released.
Whether Sainthood is Tegan and Sara's best album is debateable, but it's certainly there most ambitious and tightly constructed, the album that is most likely to push them over into the mainstream, for better or for worse.
Make Notes
14th October, 2009. 4:14 pm.
It's 40 years since 1969, so here, for no particular reason, is the best album of each of those 40 years.
1969
Abbey Road by The Beatles
1970
Full House by Fairport Convention
1971
Songs of Love and Hate by Leonard Cohen
1972
Exile On Main Street by The Rolling Stones
1973
Greetings From Asbury Park N.J by Bruce Springsteen
1974
On The Beach by Neil Young
1975
The Basement Tapes by Bob Dylan and The Band
1976
Desire by Bob Dylan
1977
Marquee Moon by Television
1978
All Mod Cons by The Jam
1979
Unknown Pleasures by Joy Division
1980
Closer by Joy Division
1981
Slates by The Fall
1982
Nebraska by Bruce Springsteen
1983
Murmur by R.E.M
1984
The Smiths by The Smiths
1985
This Nation's Save Grace by The Fall
1986
Graceland by Paul Simon
1987
Sign O The TImes by Prince
1988
Daydream Nation by Sonic Youth
1989
Doolittle by Pixies
1990
The La's by The La's
1991
Screamadelica by Primal Scream
1992
Automatic For The People by R.E.M
1993
In Utero by Nirvana
1994
The Holy Bible by Manic Street Preachers
1995
Different Class by Pulp
1996
If You're Feeling Sinister by Belle and Sebastian
1997
Ok Computer by Radiohead
1998
This is Hardcore by Pulp
1999
The Soft Bulletin by The Flaming Lips
2000
Stories From The City, Stories From The Sea by PJ Harvey
2001
White Blood Cells by The White Stripes
2002
Sea Change by Beck
2003
Elephant by The White Stripes
2004
Franz Ferdinand by Franz Ferdinand
2005
Mezmerize/Hypnotize by System of a Down
2006
Ys by Joanna Newsom
2007
Boys and Girls in America by The Hold Steady
2008
Fleet Foxes by Fleet Foxes
2009 (so far)
Yonder is the Clock by The Felice Brothers
Make Notes
18th September, 2009. 6:12 pm. An explanation to those who never asked for one
On the 9th September 2009 a man walked into Fopp in Cambridge, he left having spent £360 entirely on music by The Beatles (just to clarify this person wasn't me, I heard this from a girl that works there) this is ridiculous, it's far to much money to spend on music in one day, especially on one artist. His purchase was of two recently released boxsets of The Beatles albums, which he undoubtably already owns, one is The Beatles in Mono, the other The Beatles in Stereo. This purchase seems ridiculous to most of us, but I am perhaps slightly ashasmed to admit that I can comprehend if not entirely condone his actions.
The first thing to know is that The Beatles CDs, released back in 1987 are not good quality, for obvious reasons they were amoungst the first things to be released on the new format, they sound ok, but that's because the music is great, the actual clarity of sound is pretty poor, they've never been remastered since, until now, it's something that a lot of Beatles fans have had a problem with. To be honest the sound isn't that bad at all, they're perfectly acceptable, but Beatles fans expect any treatment any other band gets should be given to The Beatles, espesially a digital remastering. That's what we've finally got, 22 years after the original CDs, and 40 years since the release of Abbey Road we have both a stereo and mono boxset of remasters.
So why the hell are there two different versions? Well the mono mix obviously seems like the strangest idea, but The Beatles not only made great records, they made great sounding records, a lot of Beatles fans argued that the CDs lacked the power of the original vinyl releases. George Martin and the band put huge efforts into the mono mixes, of which far less effort was placed onto moving them into stereo on CD, so the recordings have an intensity and clarity that according to many is lacking from the original CD releases.
The Stereo mix, on the other hand, is something completely new, each instrument is clear and details such as Paul's ridiculously impressive bass work suddenly becomes far more obvious, for new fans, who just want to hear The Beatles as clearly as they can, like they're in the same room, should go for the Stereo mix.
</lj-embed>So it's tricky actually, the mono mix is what the band intented people to hear, it's the clearest representation of The Beatles vision. The stereo mix though is The Beatles sounding better than they thought they could. The mono mix is the one for fans that grew up in the 60s and want to re-live their pot fuelled youth, the stereo mix though seems like the mix for everyone else. You get all the albums (the mono boxset does not include Abbey Road or Let It Be, which were never recorded in mono) you get documentaries with all of them, photos, beautiful packaging, and it's cheaper. Fan's will argue that the mono mix is for true fans, but the stereo mix really gives more, it's just too modern for those still living in the good old days.
Make Notes
4th September, 2009. 10:44 am.
Arctic Monkeys- Humbug
The backlash starts here. Arctic Monkeys, one of the best british bands of the past ten years, hyped by the press as even better, have reached the difficult third album. Two years since their last release, they're still certainly far more prolific than the one album every three years trend of current music releases. The question of course is whether it is matched by consistency. It it perhaps best to start by saying that Humbug is the Arctic Monkeys least commercial album, for the most part it is also their weakest, lacking as many memorable tunes as their previous two albums. It's still an excellent album though, that sees the band daring to alter their sound with the risk of losing their commercial appeal. By far their darkest, heaviest album, it was produced by QOTSA's Josh Homme, it doesn't sound as much like that band as some early descriptions had suggested, rather it is a darker, more bleak version of their own riff heavy sound, like a combination of Pixies and Franz Ferdinand.
The album contains some of Alex Turner's best lyrics to date, focusing less on everyday situations to create songs with surreal poetic imagery; "Fools on parade cavort and carry on for waiting eyes/ That you would rather be beside than in front of", it sets him apart from his contemporaries, most of whom were attempting to copy his Paul Weller style of social realism, now his lyrics feel more like something by Morrissey, darkly romantic and tragic. It's a strong and important step forward for the band and particularly for Turner. Musically though they've developed, there aren't the memorable tunes of the first two albums but there's a sense that started with Favourite Worst Nightmare, that the band are developing their own sound, rather than simply sounding like a combination of other great bands there's a sense of their own, original sound. "Cornerstone" for example, one of the best tracks on the album, has hints of The Smiths, but ultimately is an entirely original sound that could be no-one but the Arctic Monkeys.
Best of all though Humbug hints at better things to come, if it's not up to the standard of the last two albums, it suggests that the band are on to something exceptional, we know they're a talented bunch and they've done some great work in the past. It feels ultimately like their "Beatles For Sale" or "Help!" an album that might not have the consistency of previous albums but see's them pushing forward with their sound, hinting at better things to come, and giving us a perfectly excellent album to be getting on with.
Make Notes
3rd September, 2009. 11:02 am.
Inglorious Basterds
Any long time fans of Quentin Tarantino will know that Inglorious Basterds has been a project the writer/director has been writing, or at least talking about since the mid-90s. He made frequent references to his war-epic as to why so much time had been spent since his last film, he took time off writing the film to create the fantastic Kill Bill, followed by the disappointingly mediocre Death Proof from Grindhouse. All that build up and time spent on the film would suggest that Inglorious Basterds is Tarantino's masterpiece, which it isn't, but it's a great film none the less that sees Tarantino returning to the the height of his film-making powers.
The film will certainly appeal to Tarantino fans, it's just as violent, over the top and utterly ridiculous as Kill Bill or Pulp Fiction with the added bonus of containing real historical bad guys. The plot alone gives an impression of just how implausible the whole thing is; in 1944, in Nazi-Occupied France. Lt. Aldo Raine (Brad Pitt) and his Basterds, a squadron of ruthless Jewish soldiers, must help the Allies try to wipe out the German High Command at a film premiere. The cinema, however, is owned by a vengeful Jewish survivor (an excellent Melanie Laurent) with plans of her own. It's all done over a series of long intense scenes, usually with at least one moment of graphic, bloody violence. Of course, we'd expect nothing less. Which means it isn't quite the thrill ride that Kill Bill was, similarly the scenes are rarely as brilliant or witty as the best of Pulp Fiction. Some of the film's moments though rank amoung Tarantino's very best. The opening scene is nothing short of stunning and could easily rank as amoung Tarantino's finest work. A discussion between a Nazi officer and a French farmer about a missing jewish family in the area is clearly intense, but it is only after ten or so minutes that we are shown that the family in question are hiding under the floorboards, hearing every word, though not understanding it. In a gut wrenching moment, aware that his own family will be killed, the farmer reveals the whereabouts of the jewish family, the officer then takes his time bringing in his soldiers and having them shoot down at the family below. Only one survives, the cinema owner later in the film.
It is this combination of incredibly dark, disturbing scenes, with witty banter and hilariously over the top violence that is what audiences seem to both love and hate about Tarantino films. Distasteful, over the top, utterly unrealistic, and brilliantly witty, wonderfully intense and thoroughly exciting in equal measure, this is all that defines Tarantino as a film maker and it's all on show here. Ultimately the film with all it's glaring faults and ingenious successes ends up defining Tarantino more than any other film he has ever made. It may not be his masterpiece but it is the film that is the most clearly a result of the directors vision. To some a truly exceptional film, to others a disaster, in either case Inglorious Basterds is the most clear fruition of Tarantino's vision, take it or leave it.
Make Notes
30th August, 2009. 2:27 pm.
Funny People
I'm not just surprised, but frankly stunned at some of the negative reception this film has received. Whether or not it's better or worse than the excellent Knocked Up is something of a moot point, however what I found clear was that this is a lovely, warm and extremely funny film that should, by rights, put Aparow and the central cast at the top of the Hollywood A list. It's something of a story of two halves, and it's over two hours in length which some critics have had a problem with. However the time simply flies by and allows an intimate attachment to the characters which makes the film all the more moving and watchable. In the story a world-famous comedian George Simmons (Adam Sandler, talk about type casting) is diagnosed with a terminal illness, after returning to his standup comedy roots he recruits wannabe stand-up Ira (Seth Rogen, in a career best performance) to write material for him. He also tries to re-ignite the flame with ex Laura (Leslie Mann), despite her marriage to Clarke (Eric Bana). Ultimately though the central relationship is not between George and Laura but between George and Ira, it's a buddy comedy hiding behind a romance. In this narrative alone the film shows depths that most other comedies are severely lacking, the character's don't just announce their feelings but rather the audience is made to read deeper and between the lines of their hilarious interactions with other characters.
All of which would suggest a comedy that is difficult to simply enjoy, but this is also the funniest film Aparow has yet delivered and the film is never allowed to sink too deep into sentimentality without a wonderfully obscene joke bringing it back to the surface. A particularly excellent scene sees George and Ira discussing the severity of George's condition with a doctor, George is at a loss, he's tired of life and on the verge of depression when the doctor tells him he is unlikely to ever recover. It's a dark and saddening moment, the characters react however by making various puns about the doctors accent; "I enjoy all your movies, the ones where you try to kill Bruce Willis".
Some will complain that it drags, that it's too dark, all of which seems to be criticism only relevant for those who have never seen the film. What the film really is is a director, writer and cast all at the top of their game, presenting a film that leaves you walking on air. No Aparow isn't the new Woody Allen, he's not trying to be, he's trying to be a brilliant director in his own right. With Funny People he has succeeded.
Make Notes
11th August, 2009. 9:03 pm.
Moon
I knew very little about this film when I went to see it, I had the impression the moon was somehow involved and that guy who had a beard in The Assassination of Jesse James, but not much else. We ended up seeing it for free, it pays to know the right people. In any case what I was presented with was a claustrophobic sci fi thriller which was something of a flawed masterpiece. You couldn't fault it for technique, it was beautifully filmed and even more beautifully acted with brilliant set pieces and stunning shots of the moon surface which made you feel isolated even in a sold out cinema. Sam Rockwell was a revelation, utterly convincing and spellbinding he carries the film the whole way through being the only major character throughout the films story. Therein lies the flaw though with the film presenting an admittedly impressive backstory and several clever twists, it was gripping to be sure, but somewhat predictable and it was hard to shake the feeling that I'd seen it all before. The robot is exactly like Hal from 2001 Space Odyssey, sure it's always nice when you get references to other films, but this felt a bit more like ripping off. Also the main twist is introduced about two thirds of the way through, meaning that afterwards the films drags a little. I won't give away the twist but it makes the whole film feel less realistic and the tone and mood changes, making the film feel a bit awkward. Still it didn't detract from the overall feeling and performance presented in the film, which is what made it worth watching and ultimately made an excellent piece of old fashioned sci-fi. Then again the whole thing would have been a lot easier if there'd been some twating of people with lightsabers, but you could say that about any film.
Make Notes
8th August, 2009. 5:21 pm.
A few alternative taglines for you:
You don't have to be a pilot to fly in the RAF, but it does make things rather difficult.
You don't have to be posh to be privileged, you just can't be working class or foreign.
Moneysupermarket.com: The price comparison site that isn't gocompare or confused.com
When's your "I'm not going to buy Dolmio because it's overpriced monkey vomit" day?
I spent an hour working out how to eat this biscuit and it's really not that good; only oreo.
Sainsbury's; try something that's not tescos today.
Tescos; every little helps us achieve world domination.
HSBC: The world's local bank, but not necessarily yours.
Uncle Ben's: Invite the world to dinner, but they might think you haven't made the effort.
Tax doesn't have to be taxing, but it is, that's why it's called taxing.
I am who I am because of everyone because I'm completely incapable of individual opinions or thoughts.
Macdonald's: A couple more burgers and I officially have a heart condition: I'm loving it.
Make Notes
21st July, 2009. 5:23 pm.
LATITUDE 2009!!
I saw lots of stuff!
Teitur- Uncut Arena- Friday 12:30
Apparently hailing from the Faroe Islands, Teitur (which I am still unsure of how to pronounce) is the first act I see at Latitude and he brings things of to a good start, not a great start, but having only heard one fairly average song before seeing him I can't deny I wasn't impressed, he has a terrific voice and some truly lovely songs. On the evidence of this performance there's little to him than some nice melodies and interesting backing, he's not a revelation, not quite, but he's a damn good way to start a festival.
1990s- Sunrise Arena- Friday 14:00
They have a stupid name, but we'll let that lie for the time being, 1990s are apart from anything else, just damn good fun. Dancing around and grinning ear to ear, they are probably enjoying it more than anyone watching. They're a perfect festival band in many ways though, feel good anthems that people can dance and shout along too with a great energetic stage precence, they're not exactly a revolutionary group, there's some fine tuning required here and there but they're exactly what the doctor ordered on friday lunchtime.
Broken Family Band- Obelisk Arena- Friday 15:30
It's definetly nice to see a Cambridge band make something of themselves. So seeing a Cambridge band on the main stage seemed like a nice idea, unfortunately it's clearly completely the wrong stage for The Broken Family Band. They're a great band, catchy, clever and fun, kinda like a modern day Fairport, but it all falls flat on such a big stage, they seem awkward and uninteresting. There's still evidence of their talent here, but to the untrained ear it's not going to seem like much.
Of Montreal- Obelisk Arena- Friday 16:20
Of Montreal suffer from a similar problem as The Broken Family Band, except it's entirely they're fault. They come out guns blazing but they're gun filled with fat headed pretentiousness. They're clearly brimming with confidence, but the result is frankly embarresing, ridiculous animations are played on the screen and vague blurry pictures of the band. While even the songs I knew sounded fuzzy and unfamiliar, there's a complete lack of melody of memorable songs. A good band making a terrible misstep.
Ladyhawke- Obelisk Arena- Friday 17:20
She made one of my best albums of last year and I was pretty excited about seeing Ladyhawke, i'd heard however that she was awful live and she was clearly very nervous, I swear I saw her mouth the words "holy fuck" when she saw the size of the crowd, bless her. Her nervous and shy performance however is actually makes her a more interesting and enjoyable live performer, it gives her a unique persona on stage. She also happens to play her songs brilliantly, her voice is spot on and the backing band are very tight, the great songs from her album sound just as good live and theyre great for a festival crowd. It would have been nice to hear more new material and she's clearly only starting of, but it was the best set i'd seen thus far.
Regina Spektor- Obelisk Arena- Friday 19:45
Regina Spektor was, along with Nick Cave, my most eagerly anticipated set of the weekend, she is an unparalleled songwriter and has written some truly beautiful songs. She doesn't dissapoint, her voice is astonishing, even stronger, warmer and more passionate than on record, she makes even the lesser known songs seem like anthems. I was worried the songs would have less impact in such a large arena but they seem to wash over the audience, there's a deathly silence on the quieter songs, with everyone listening intently. Even when she messes up a song on the guitar she makes it funny and charming, giving the audience an embarresed smile saying "I don't know how to play the guitar" and returning to the piano. One of the best sets of the weekend.
Pet Shop Boys- Obelisk Arena- Friday 21:30
Pet Shop Boys are a great pop band. They have some truly classic pop hits that I would challenge anyone not to love. For some bizzare reason thought they play about three of these, the rest are presumably new songs that all sound pretty much exactly the same and are generally pretty forgettable. They almost make up for it though with their astonishing, spectacular and uttlerly bewildering stage show, featuring people in leotards with boxes on their heads dancing, it's wonderfully camp and over the top, if only they'd played the hits it would have been an amazing show.
DataRock- Obelisk Arena- Saturday 14:40
DataRock win the award for most enthusiastic band of the weekend, hands down, no contest. They even finish their set by posing in front of the crowd to get a photo taken, they all jump and dance around like someone just injected a red bull right into their veins. They've got some catchy songs too, but none of them really stay with you, and they clearly have trouble getting the crowd as enthusiastic as they are. Points certainly for effort, they just need the songs to go with the enthusiasm.
Lyrebirds- Sunrise Arena- Saturday 17:50
Lyrebirds are a revelation, performing one of the very best sets of the weekend. A brilliant mix of Joy Division with sweet, simple melodies the band perform with astonishing passion and precision, they have beautiful memorable songs that should make them huge. At the moment though they are still unsigned, which seems throughly bizzare. With their terrific songs and live performance they are the best new band at the festival and perform an astonishing set.
White Lies- Obelisk Arena- Saturday 18:35
White Lies are a band a lot of people seem to be looking forward to, they combine the dark, moody atmospherics of bands like Echo and the Bunnymen with catchy choruses reminicent of bands like The Killers. In other words they're a lesser version of Editors. Which is what they have always been to me. When they come on stage I'm not exactly converted immediately, the singer is flat and their bass player looks much cooler. But despite these setbacks they actually deliver an enjoyable and memorable, they converted me, I like them far more now than I did before, ultimately there's not much else you can ask from a festival set than that.
Passion Pit- Sunrise Arena- Saturday 20:30
The tiny Sunrise Arena is packed beyond the brim for the increasingly popular Passion Pit. They are an eagerly anticipated band and most of the people watching clearly know the songs inside out, singing along to every riff. The sound is a bit rusty, the singer is far too quiet, and it's a little difficult to hear over the fans singing along but ultimately Passion Pit deliver, giving a stong, assured performance. Many believed they would give the best set of the weekend, they fall short, but not by much.
Thom Yorke- Obelisk Arena- Sunday 12:00
Playing a specially created set at midday Thom Yorke is all he's made out to be, playing a beautiful, original and surprising set with plenty of well known songs and one very good new one. He's in a jokey mood and is genuinely pretty funny, constantly switching between instruments, sometimes midsong, his voice is top notch and he clearly shows his abilities as an instrumentalist. He also played "There There" in a fantastic acoustic version. Sure he might have been better with Jonny Greenwood behind him, but he delivered a powerful and brilliant set by himself, clever buggar.
The Gaslight Anthem- Obelisk Arena- Sunday 17:30
They're not quite a revelation to the same extent as Lyrebirds, but I'm certainly converted by The Gaslight Anthem's set, Bruce Springsteen is the clear influence, and no bad thing, their second only to The Hold Steady in reliving that brilliant inspiring music. They look slightly emo, sure, and that's something that needs to be shaken off, but songs like "59 Sound" and "Drive" are undeniably brilliant. In many ways the perfect festival band.
Phoenix- Obelisk Arena- Sunday 18:35
I've rarely had as much fun as I did watching Phoenix's set. Brilliant catchy pop melodies and a fantastic stage presense. They got the crowd going far more than similarly fun bands like DataRock, in fact i'd be surprised if they didn't blow most of them away. They always reminded me of The Spinto band and they have a similar energetic spirit and are nearly as brilliant live. They were another revelation and surprisingly brilliant set.
Editors- Obelisk Arena- Sunday 20:00
Everything went a bit crazy for Editors, people were clearly excited to see them and there was a crush to get to the front, with the crowd going wilder than they did for most of the rest of the festival. I've seen Editors 3 times before and this was one of the best performances i've seen them do. They also played several new songs and all but one was excellent, showing a new slightly electronic sound. Editors are definetly moving up in the world and that's no bad thing.
Nick Cave & The Bad Seeds- Obelisk Arena- Sunday 21:30
Essentially the reason I spent £150 to go to Latitude, Nick Cave is by far the set I am most excited about, one of my absolute musical heroes I have always wanted to see the man perform in the flesh. He does not dissapoint, in fact, astonishingly, he blows away expectations. Headlining on Sunday night, I was exhausted by the time he came on and barely able to stand on my own two feet but within 30 seconds of the band walking on stage I forgot all that and enjoyed the best set of the entire weekend. Playing a career spanning set, he played all the classics and many of my favourite songs such as "There She Goes My Beautiful World" and "The Mercy Seat". He is a brilliant performer walking about the stage like a preacher giving a powerful delivery. £150 well spent I think.
Current music: lots.
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