Recap: Call For Projects is the part of my website where I call upon the generosity of the reader to develop and complete a project idea that I know in my heart of hearts I’m never actually going to get around to starting, let alone completing. Each CfP will probably be an idea way out of my field of expertise. In fact, I’m going to go so far as to guarantee here that each will definitely be out of my field of expertise. But who knows, it might be in yours. And one of us needs to make it happen. And, y’know, it doesn’t look like it’s going to be me…

Like a 24 hour news channel, but with Channel 5’s The Wonderful World of Puppies. Continue reading

I think H and I first heard this on a mixtape from the awesome Laura Theis (of Badass Snow White fame, amongst others). And it became a song that we both used if we wanted to dislodge a particularly nasty earworm. (If memory serves me correctly, it was one of three — the others being Blank Space and Shia LeBeouf.) I think I read somewhere that this was Fiona Apple in her ‘icons of the 1940s’ (particularly Billie Holiday) phase. Most of it is just her voice and timpani. And it is, if you’ll excuse the expression, catchy as fuck.

Current Favourite Part:
“I’m a hot knife, Iyyyyyyy-m a hot knife… I’m a hot knife he’s a pack of butter…” (repeat until death)

‘Big Time Sensuality’

1993 was a good year for innovative and influential popular music. The relatively new innovation of CDs was just starting to do wonders for the music business as a whole. Not only did the new digital sound quality attract new listeners, it also persuaded music fans with vinyl records to buy their favourite albums all over again. This influx of cash meant that record companies could afford to take more risks, and albums started appearing that almost certainly wouldn’t have got record company backing a decade earlier: Pablo Honey by Radiohead and Siamese Dream by the Smashing Pumpkins, Doggystyle by Snoop Dogg and Enter The Wu-Tang (36 Chambers) by the Wu-Tang Clan, Rid of Me by PJ Harvey and Modern Life Is Rubbish by Blur, to name but a handful. And on the indie label front, the previous year had seen the release of Artificial Intelligence, a compilation of artists on Sheffield’s WARP Records who would define the cutting edge of Rave-influenced electronic music for the next decade.

Even so, when Björk’s album Debut appeared, it sounded like it came from another planet. Debut, and its ‘sequel’ Post (as in ‘before’ and ‘after’) changed the cultural landscape in terms of how experimental you could be whilst still being mainstream-successful. Every single released from both albums made the Top 40 of the UK singles chart (several made the top 10) and yet the melodies and arrangements were arguably more sophisticated and left-field than anything the cutting edge artists were producing. Before long, remixes of her tracks were circulating from the most respected electronic artists: Black Dog, Underworld, Sabres of Paradise, Graham Massey, RZA, Mark Bell, Talvin Singh, Plaid, μ-Ziq. Even Thom York has cited Björk as a major influence on the Radiohead’s ‘greatest album of all time’. Continue reading

Okay, I’m very late to the party on this one, as it was pretty much the biggest hit of last year. And now it’s nominated for 4 oscars (best picture, best director, best actor, best original screenplay). Now, I haven’t seen Lady Bird yet, and there have been so many ecstatic reviews of it that I hesitate to say that Get Out is the best movie of this oscar year that I’ve seen. But I think it’s fair to say, it’s the best I’ve seen so far, and knocks the socks off best picture rivals Dunkirk (which I liked) and Three Billboards Outside Ebbing, Missouri (which I really didn’t). Continue reading