Author Archives: Helpful Paperclip

And in this week’s edition of “This is why the terrorists hate us”: Scott complains about the quality of popular music on the radio

Every day a few of my friends and I carpool into university, partly because we care about the environment but also because we hate the public transport system here in Auckland. And thanks to the notoriously bad Auckland traffic, this means we spend at least 45 minutes to an hour trapped in a vehicle every morning. Unfortunately, every radio station in Auckland seems to be as shit as our road planning. Once you have scuttled through the news on national radio, the decent beats on George, the off-kilter and likely unrecognisable music of the bFM team, the only decent talkback, is The Edge Morning Crew.

Personally I’m as surprised as anyone that The Edge topped my list for talkback but it’s true. However it’s not for the reason’s you might think.

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Jack White’s Solo Album, Blunderbuss: reviewed by a White Guy

Released last week by Sony, I finally got round to picking up a copy and having a good listen today (assignments and bullshit).

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Well done Mr White [applauds]. This is White’s first solo album release on his independent recording production Third Man Records (shared with his other bands such as the Dead Weather and various other independent prodigies), and according to these guys, the album almost didn’t happen. The story goes that a bunch of songs were pulled together and then recorded for the sake of recording them, and suddenly a fully fledged LP was on the books. A bit of the magic Jack White touch and refinement and this monster was unleashed.

The album defies what I thought might have happened, with songs being pulled from all over I worried it might feel disjointed and more like a strange Greatest Hits collection rather than an album. But it’s well-rounded, nicely mixed and … just damn brilliant. White sticks mostly to lead guitar or piano on the recordings, although on I Guess I should go to Sleep, in true Third man fashion, he also slaps about on his guitar case for percussion.

Most of the material on here shifts between blues based folk and country rhythms and powerful blues-rock. White’s lyrical skills continue to astound me on every new piece of material, whether he’s telling a story or just reciting ironically simplistic sentiments, it’s all good. The album is interesting in this sense because you can hear influences from his White Stripes days, as well as his more recent bands, like The Raconteurs and The Dead Weather. All are excellent bands and the album really shows his maturity as an artist. I guess you could say the maturity was really always there but this is a great artifact in testament to that maturity.

There were a few pre-release singles, including the strangely downbeat yet infectious Love Interruption, and the Stripes-esque hard rock piece, Sixteen Saltines. These really added to my anticipation of the album and I can confidently say my expectations were not let down.

[Also if you end buying a copy of the CD, have a look at the strangely funny illustrations done with the Sony symbol on the booklet. Very cleverly done.]

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And In Today’s Edition Of “This Is Why The Terrorists Hate Us”: Why I Love My iPod Classic

Technology is by definition constantly changing, updating and outmoding itself. However every few generations, certain items become instantly and lastingly iconic. The Model T Ford, McDonald’s “Big Mac”, the pen, and for our generation, the iPod is one such creation. However when you say iPod to people, chances are they aren’t picturing a sleek new 5th gen touch.

The iPod Classic is, for the following reasons (apart from obvious functionality and battery life claims) the most superior personal listening device of all time (of all time!)

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