The curse of the Giant Paw

I’ve only mentioned Giant Paw in passing previously, because it’s too hard writing about mates’ bands. On the one hand you want to big them up, but on the other you feel a duty to remain objective (which is impossible at the best of times, but especially with your friends). Ooh, the emotional turmoil of being an obscure blogger!

So a few years ago there was talk of rehearsals and plans and schemes and suchlike. And then there was a first gig at the Rough Trade Shop in Covent Garden (now gone) and… several other gigs. And slowly it all seemed to come together. I remember suddenly realising at a gig in that dive bar under Highbury tube station that the band were actually now Officially Brilliant and not just an excuse to get pissed and jig about with a bunch of people I have known for well over a decade (two decades in some cases).

Then they conjured up some perfectly conceived limited CD singles with beautiful silk-screened artwork. And now an album.

starscoverforadvertcopy

I suppose Giant Paw is in the tradition of woozy English psychedelia – but it’s not exactly proggy. It isn’t really my field, but I think there’s more of a punky undercurrent with a splash of yer Krautrock on those long driving pieces. I guess this connects with what I was trying to write about with the Psychic TV piece recently.

Lyrically there is a twisted whimsy – “Mosquito” reports on a domestic argument with an insect, whilst “Flood” is a dreamlike voyage in a trapped car which is floating through a city – JG Ballard style. The Paw roped in Cramer (of Bongwater fame) to produce some of the tracks on the album, but they seem just at home tweaking tunes in a studio behind Stoke Newington station, roping in any passing friends and acquaintances to lend a hand.

Maybe I don’t need to be objective now we are in web 2.0 – hopefully you’ve already checked the youtube video at the top and can see where I’m coming from.

If you need more right now, check these links:

Order the album from Rough Trade (looks like they also have some of the limited editions left!).

Or download via corporate overlords Amazon

check the Giant Paw myspace for more listening and info

UCL Urban Laboratory – Creative Edge: Saturday 26 September

creative edge event flyer sept 09

London’s outer suburbs have stereotypically been portrayed and understood as safe, boring and an anathema to inspiration, especially against more dynamic, spectacular and multilayered central districts. Yet, London’s suburbia has proved a fertile and innovative seedbed for creativity, particularly in contrast to an increasingly gentrified, generic and bland historic centre. From the literature of Hanif Kureishi, JG Ballard and Zadie Smith to the musical adventures of Siouxsie Sioux, Suburban Base records and Burial, the suburbs have become central to cultural representations and imaginations of contemporary London.

UCL Urban Laboratory – Creative Edge.

Georgina Cook and I are collaborating on a presentation for this event at UCL. We will build on my review of her work here, but our contribution will consist of entirely new material (most of which has been put together by Georgina, I have to stress!)

Also on the bill is a certain Mr Martin Blackdown.

It will be good.

tongue in cheek: the eternal return

smileytongueLP1

dizzee_rascal_tonque_n_cheek

I have no idea if I am the first person to comment on this or not, but Dizzee’s new album (almost) shares a title with an ancestor of his – Smiley Culture, one of the most commercially successful UK MCs of the eighties.

Shall I bore you with the parallels and divergences? Yes, I think I shall.

Smiley sprang to fame on Saxon soundsystem alongside Papa Levi, Asher Senator, Tippa Irie et al. Levi was the first to sign to a major, but Smiley’s anthemic “Cockney Translation” and “Police Officer” had significant chart success on proper London reggae label Fashion. He was snapped up by Polydor and released the above album in 1986 featuring unconvincing “pop” versions of some of his tunes alongside new material, did the rounds and then vanished. Last thing I heard he was running a PR agency or something. (If you are reading this Smiley – get in touch. Your story needs to be told properly!)

Dizzee on the other hand sprang to fame as part of grime crew Roll Deep, alongside Wiley, Flowdan, Trim et al. His first solo release “I Luv You” was I think out on a self released white label before he was signed to XL. He went on to win The Mercury Award in 2003 for his debut album “Boy In Da Corner” (which still sounds great today). Dizzee then set up his own label, Dirtee Stank and had some passable pop hits.

What does this tell us? Perhaps that during the last 23 years the music industry has found better ways of sustaining MC acts commercially? Or maybe that grime’s business model and materialism was more robust than the uncompromising world of reggae soundsystem in the eighties?

THE CLASH SCANDAL THAT SHAMES US ALL

“That Droid won the clash in August is barely disputed. That John Eden failed in his mission is no disgrace. The disgrace lies in the way the two individuals have aired their laundry in the month following the clash. It will take more than a series of hasty rebuttals to wash the stains of shame from these DJs’ garments.”

NOT THE REAL BEYOND THE iMPLODE: THE CLASH SCANDAL THAT SHAMES US ALL: comment by DARCUS HOWE.

Grievous Angel promo mix for Twilight Circus

Grievous Angel exclusive promo mix for Twilight Soundsystem.

Paul Meme performs his own mix and blend dubwise alchemy on Ryan Moore’s outstanding back-catalogue.

Features talents like Big Youth, Ranking Joe, Mykal Rose and Luciano.

Do yourself a favour and grab this now.

540

Then check Woofah issue 3 for a great interview with Ryan by me and Paul STN.

And also head over to twilightcircus.com for more info on Ryan’s back catalogue including the excellent Vocal Anthology and Michael Rose albums alongside dubs both seismic and atmospheric.

Support independent music producers, innit.