The CLUAS Archive: 1998 - 2011

Blogs

From 2007 to 2010 CLUAS hosted blogs written by 8 of its writers. Over 900 blog entries were published in that time, all of which you can browse here. Here are links to the 8 individual blogs:

29

Matt ElliottSome of you may know Matt Elliott more by his pseudonym, The Third Eye Foundation, than the one that appears on his passport.  It was under this moniker that the Bristol native became a pioneer of the 'drill 'n' bass' approach to electronica.  It was this bleak and brutal approach to electronica, combined with Elliott's ability to transcend genres that won him many admirers in the world of music, resulting in Elliott producing remixes for the likes of Mogwai and Thurston Moore amongst others.

Now living in France, Elliott specialises in releasing albums variously described as folk and vaudeville.  The most recent release, 2008's Howling Songs, drew comparisons with no less than Tom Waits, Nick Cave and Leonard Cohen.  Now, in association with Forever Presents, Key Notes is offering two people the chance to win double passes to see Elliott in action, Upstairs in Whelan's on Thursday, April 9.

To be in with a chance of winning, just send an email with Matt Elliott Competition in the subject bar to keynotes[at]cluas[dot]com.  The competition will close at midnight on Monday April 6.  Winners will be chosen at random and, as always, Key Notes' decision is final.

Matt Elliott: The Kursk


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29

CLUAS 10th birthday partyCLUAS will be hitting the 10 year milestone in May 2009 and as far as I know it is Ireland's longest running music website. Am I wrong? Am I forgetting some obscure gem of an Irish music site out there that was knocking around before May 1999 and is still on the go?

I thought hotpress.com might also have been around 10 or so years but it turns out not to be the case. With a bit of digging (thanks to archive.org, the ambitious online project that is keeping a snapshot of web sites over the age) I was able to establish that hotpress.com was home to an offset printing company based in Santa Cruz, California up to Dec 2000. Hmmmm. The domain name, it seems, was only acquired by Hot Press magazine in early 2001 (but no content was published to the site until some time between June 2001 and January 2002). Maybe Hotpress.ie was around a bit longer? Once again Archive.org comes to the rescue, with confirmation that Hot Press' .ie incarnation only began leaving a trail on the web from Februrary 2001 onwards.

What about U2.com? Surely those innovative, technophiles (or something like that) were doing their thang on the web early on? Well, er, no actually. Their website didn't go live until some time in August 2000, giving CLUAS a 15 month headstart on everyone's favourite Croke Park regulars.

So, CLUAS.com? The longest established Irish music site on the web? Yeah?


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25

APTBSHaving just signed a deal with Mute Records (Depeche Mode, Goldfrapp), Brooklyn band A Place to Bury Strangers are bringing their wall of sound to Whelan's on March 31. 

Best described as ear-bleedingly loud and beautifully bleak, A Place To Bury Strangers have been called 'the loudest band in New York.'  Quite a compliment and Key Notes is giving you a chance to find out for yourself. 

Thanks to Forever Presents, Key Notes has two double passes to give away.  To win this prize, all you have to do is email keynotes[at]cluas[dot]com with A Place To Bury Strangers in the subject line.  Two winners will then be chosen at random.  As usual with these competitions, Key Notes' decision is final.  All entries must be received by Midnight on Sunday, March 29.

A Place To Bury StrangersTo Fix The Gash In Your Head


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25
In the National Gallery in Dublin, up the right hand stairs from the Shaw Room all the way to the top floor, in the same space as the Monet and Picasso, there used to be a painting by a relatively unknown French artist called Jean-François Raffaelli. The painting was of the Pont Alexandre III, the bridge across the Seine in Paris that connects the glass-roofed Grand Palais exhibition hall to the gold-domed Hôtel des Invalides where Napoléon’s remains are housed.
 
Pont Alexandre III in ParisThe Pont Alexandre III (right), named for the Tsar to commemorate the Franco-Russian Alliance of 1892, features four extravagant gold-leaf statues of winged horses on columns at each corner. Raffaelli’s painting shows them as fauviste blobs of gold above the blurred red and blue dots of passers-by below.
 
The rest of the bridge is impressive too: wrought iron figures, Art Nouveau lamps, imposing stonemasonry and a few more splashes of gold leaf. The Pont Neuf may be the most celebrated and historic bridge in Paris but the Pont Alexandre III is the most ornate and spectacular.
 
Tucked inside the dry arch under the Grand Palais side of the bridge, location for the night-time arms-dealing scene in 1998 action film ‘Ronin’, is one of the hippest music clubs in Paris. It’s called Showcase. In the same way that converted wine cellars make great concert venues (Dublin music fans can think of the downstairs room of the Isaac Butt across from Busáras, if it still exists) the low concave stone ceiling of Showcase creates an intense clubbing experience. The club is generally associated with the trendier Paris electronica and house DJs, but is often rented for corporate functions and promotional concerts. For instance, last September Iggy Pop performed there in a show to mark the centenary of Converse sneakers.
 
Inside the Showcase under the Pont Alexandre IIIUnlike other Paris music clubs and bars facing noise restrictions and complaints, Showcase doesn’t have too many neighbours. There’s the man who sleeps under the next bridge downriver, and houseboat residents upstream who should by now be used to the roar of quayside traffic and tourist cruises. In fact, it’s on a quiet route where your correspondent goes running.
 
Back in Éire, before the days of running along the Seine, your then Dublin-based correspondent would go to the National Gallery and sit in front of Raffaelli’s painting of the Pont Alexandre III. There, we would think about our plans for The Great Leap Forward, i.e. the move to Paris, and wonder if we would ever get there. (As if it were the far side of the Moon or something. In the end it was quite easy.)
 
It seems that we weren’t the only ones dreaming about Paris and that golden bridge. One of 2008’s unfairly-neglected albums was the eponymous debut by English dancefloor-poppers Friendly Fires. The record’s best track is ‘Paris’, where singer Ed McFarlane dreams of moving to the French capital with a friend.
 
And where does he find the glamour and excitement of Parisian nightlife? Why, under the Pont Alexandre III: “I’m gonna take you out to Club Showcase / We’re gonna live it up / I promise.” The lyrics name no other landmark of Paris: just this nightclub. And the song is exactly the sort of dreamy, adrenaline-rushing track to get the Showcase buzzing on a Saturday night.
 
Raffaelli’s painting of the Pont Alexandre III wasn’t on display last time we visited the National Gallery in Dublin. But the bridge is still here in Paris, with its nightclub underneath. And here are Friendly Fires with ‘Paris’:
 

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17
Sad and surprising news for Paris music fans today: La Flèche d’Or, the popular concert venue near Père Lachaise in the 20th arrondissement, will close in April. A report in Paris freesheet ’20 Minutes’ today appears to confirm the rumour that has been circulating through the Paris music scene in recent days, which was fuelled by the venue’s schedule only listing shows up to the end of next month. No date has been confirmed yet for the Flèche’s last night.
 
La Flèche d'Or In true rock n’roll fashion, the problem is that the Flèche is too loud. The venue has been the subject of judicial complaints by local residents about excessive noise levels at late hours. However, the cost of renovation to reduce sound emissions is prohibitive. “The latest estimates for constructing a venue within the venue are too high,” said the Flèche management in a statement. “We don’t have enough money for this work and we must close.” Previous remedial works last year have proved to be insufficient.
 
A converted train station, La Flèche d’Or (meaning 'the golden arrow') opened in 2005 and quickly became a favourite of the city’s indie scene. Until recently, entry was free – and the nightly programme of evening live acts and post-midnight DJs was too good an offer to miss. It was a no-risk way of discovering new local and international music; punters could walk up and be guaranteed of four decent bands and a night’s clubbing afterwards. Prominent advertising inside the venue, particularly by one mobile phone manufacturer, was a source of income to offset the lack of entry charge.
 
Without paying a cent, Paris music fans saw cult or emerging acts like Dan Deacon, Ted Leo, Mystery Jets, The Posies, The Wombats and Menomena. The Flèche was the Paris venue of choice for visiting Irish acts, with Jape, RSAG, The Frank and WaltersNina Hynes, Neosupervital and The Immediate among those featuring there in recent years.  
 
The credit crunch, bane of every business, is not to blame for the venue’s imminent closure – not directly, at least. But a couple of minor factors have proved to be fatal for the Flèche.
 
A view of the Fleche d'Or StageTo howls of disapproval from its regulars, La Flèche d’Or introduced a cover charge of €6 last September – still excellent value (your entry ticket gets you a small beer at the bar) but an affront to the innate anti-capitalist principles of Jacques le Frenchman. The move coincided with the gentrification of the surrounding streets – across from the Flèche the newly-opened Mama Shelter hotel featured a bar/restaurant by ultra-hip designer Philippe Starck – and the new Paris taste for disco-flavoured indie chic. The crowd demographic shifted: now the indie kids were rubbing shoulders with young professionals using Blackberries. The quality of line-up decreased, as the Flèche seemed content to trade on its reputation and profit from its hipness. Competitors like L’International, in the lively Oberkampf area closer to the city centre, began attracting the original Flèche-goers with its own free concerts. Quite simply, La Flèche d’Or became uncool.
 
The smoking ban, introduced in France on 1 January 2008, is also indirectly responsible for the Flèche’s trouble with the neighbours. Because the building is perched over a disused train line, there was no space at the back for an outdoor smoking section. The only option was to use the front bar, with its prefab walls and canopy roof. And as Parisians smoke like chimneys, the smoking section was generally packed all night – which meant that most of the venue’s noise was now streetside, within earshot of local residents. When the area became more chic last year, so also the new neighbours proved to be less tolerant of the Flèche.
 
Your correspondent was at the Flèche d’Or last Friday night to see Kim, whose ‘Don Lee Doo’ was voted our Best French Album of 2008. Most other punters came to see drippy U.S. popsters Persephone’s Bees, currently featuring on a TV commercial soundtrack with their twee ‘Nice Day’. As usual for a weekend night, the place was packed. It’s unfortunate that a thriving music venture, rare in these times, will have to shut down.
 
When the Flèche closes, noise will be reduced and rents in the area will increase, thus feeding the gentrification of this corner of the 20th arrondissement. The nearby Père Lachaise, final resting place of Jim Morrison and Oscar Wilde, already attracts tourists and will surely be promoted even more by the new hotels and restaurants. Rock fans visiting the late Door should spare a thought for the late (Flèche) d'Or too.

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14

Were it not for the fact that we usually put embedded videos and MySpace links in our posts as evidence, you could be forgiven for thinking that the CLUAS Foreign Correspondent (Paris) simply makes up half the French acts featured here.

Arch WoodmannYes, we appreciate that you have trouble taking seriously some of the music we write about.  For instance: today we'll be raving about a young Parisian singer-songer (right) who goes by the nom de rock of Arch Woodmann. Okay, says you, a rather odd anglophone name for a Frenchman but you continue reading nonetheless.

Then we tell you that Arch Woodmann's debut album is called 'Draped Horse Blue Licorne Argentée Feather Blue', and that's where we lose you altogether. You were willing to try Andromakers and take our word for My Internal Playground. But you're just not ready to go the whole 'Draped Horse Blue Licorne Argentée Feather Blue' by Arch Woodmann. Thanks all the same, like, but try selling it next door.

Anyway, for those of you still reading, Arch Woodmann's album is a fine one - a streamlined chassis of solid folk-pop songwriting, powered by an engine of American post-rock. There are even a few flecks of jazz in there.

Just to prove that we're not making all this up, here's the evidence:

(1) Arch Woodmann's MySpace page, where you can listen to tracks off (deep breath) 'Draped Horse Blue Licorne Argentée Feather Blue'. If you want to buy the album by post, cheques must be made out to a Mr Antoine Pasqualini; could this be the singer's true identity?

(2) From an acoustic session for a French music website called Sourdoreille (which translates as 'deaf ear'), here's Arch Woodmann with the just-as-fantastically-named 'Duities And Fruities':


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11
The French, not noted for false modesty, call it “la plus belle avenue du monde” – the most beautiful avenue in the world. Around Christmas when it’s strung with lights from top to bottom, or in springtime when the sun shines, you could well believe it. Parisians, however, tend to steer clear of the place. (Similarly, a true Parisian has never gone up the Eiffel Tower unless dragged there by foreign guests.) It’s not even in the centre of the city but towards its western edge, close to Porte Maillot where the Irish get the airport bus to Beauvais.
 
But for the rest of the world, the Avenue des Champs-Élysées (to give it its full name) is synonymous with Parisian glamour and French culture. Which is true, up to a point. Until the mid-19th century a few peasant hovels still lined the street; some Parisians see its souvenir stores and fast-food joints and maintain that this remains the case.
 
Yes, going downhill literally if not figuratively, the left side is thronged with tourists taking photos, buying trinket souvenirs and refuelling in overpriced restaurants. (The Champs-Élysées is not a place to go for food, unless you can afford to eat in Fouquet’s.) Down the less-crowded right you have your wealthier visitors flouncing into flagship designer stores like Louis Vuitton, now one of the main tourist attractions in Paris (especially for American R n’B divas, we hear). On Saturday nights and the wee hours of Sunday morning it’s the busiest street in Paris, as its nearby nightclubs fill and empty while fleets of taxis set down and pick up.
 
It gets even busier. Closed off, the two-kilometre avenue can welcome well over a million people to celebrate New Year’s Eve and any major French football success. Every year it also hosts the start of the Paris marathon and the finish of the Tour de France.
 
Jean Seberg and Jean-Paul Belmondo in Godard's 'A Bout De Souffle' One of French cinema’s most iconic scenes (left) was filmed here: Jean Seberg in her ‘Herald Tribune’ T-shirt, selling newspapers and walking with Jean-Paul Belmondo in Jean-Luc Godard’s ‘À Bout De Souffle’ (known in English as 'Breathless').
 
But what makes the Champs-Élysées wonderful is its sense of history. After all, it runs from the Arc de Triomphe down to Place de la Concorde. And halfway down there’s the large statue of a true French giant, Charles de Gaulle, to commemorate his triumphant march down the newly-liberated avenue on 26 August 1944. In Greek mythology the Elysian Fields were the home of the blessed, but across the street from le grand Charles  a man of lesser stature currently resides in the Palais d’Élysées, official residence of the President of France. Every 14 July he reviews a military parade along the avenue to mark the French national holiday.
 
Of course, foreign leaders have led troops down the Champs-Élysées, and not usually to celebrate the glory of France. But we’ll skip over that for the time being.
 
If you visit Paris you should make your own little victory march down the Champs-Élysées. A sunny Sunday afternoon is the best time. Start at the top with the Arc de Triomphe and go down the right-hand side, where there are less people. We recommend that you stop for coffee and macarons in the Ladurée tea-room, where you have a great view onto the avenue. Visit Louis Vuitton if you like, of course, but if you want to buy music as your Champs-Élysées souvenir you can pop across the street to Virgin or FNAC, both of which are open every night until midnight. (Alternatively, the souvenir shops sell cheap Paris-themed compilations that feature out-of-copyright recordings of Edith Piaf, Josephine Baker, Charles Trenet and the like.)
 
Looking up the Champs-Elysees from Place de la ConcordeHalfway down, the buildings end and the Champs-Élysées becomes a park-lined avenue, an arena for strolling. The richer of you will turn right onto Avenue Montaigne and its exclusive boutiques, but if you continue down the Champs you’ll see the impressive glass roof of the Grand Palais exhibition hall beside the statue of de Gaulle. Then at the bottom of the avenue you’ll reach Place de la Concorde (formerly home to the French Revolution’s most infamous guillotine, where Sydney Carton does his ‘far far better thing’ at the end of ‘A Tale of Two Cities’), the Tuileries and the Louvre.
 
Musically, the Champs-Élysées area is associated with can-can cabarets like the Lido and exclusive nightclubs like Regine's and the Queen. But there’s no concert venue here; just a couple of overpriced music bars on adjoining streets. Considering its popularity as a public gathering-place, it’s surprising that there doesn’t ever seem to have been a large open-air show on the Champs-Élysées. (The now-traditional 14 July free concert is held on the Champs de Mars, under the Eiffel Tower. And Jean-Michel Jarre, king of record-breaking concert crowds, held his giant 1990 Paris show at nearby La Défense.)
 
But there is one French song associated with la plus belle avenue du monde. Many French people immediately think of it when they visit the street for the first time – some even burst into its earworm chorus. (Sing it to any Frenchperson you meet and see what reaction you get.)
 
The song is called ‘Aux Champs-Élysées’ and it was made famous by a ‘70s cabaret singer called Joe Dassin, son of renowned director Jules Dassin who made 'Rififi' and its much-imitated break-in sequence. Your blogger first heard it in our French evening class back in Dublin, just before The Great Leap Forward and moving to Paris. The song has gained slight cult status from being on the soundtrack to Wes Anderson’s ‘The Darjeeling Limited’ but it’s still utter cheese – and what could be more French than that?
 

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09

It's a journey that Key Notes doesn't make to often these days and that, as you'll come to hear, is part of the problem.  It used to be that Key Notes would instinctively make his way to Road Records every time he went into town.  These days, when Key Notes gets so many CD's for free (to review etc) it's a trip he takes less than 10 times a year. 

Road Records was never like Championship Vinyl in Nick Hornby's High Fidelity.  It was always welcoming, even for music nerds like this blog who once asked Julie (who, along with Dave Kennedy, has owned and operated Road for the past 11 years) if she would be able to provide him with 10 albums by bands from Westmeath.  Put it this way, if Key Notes was working in a record shop and somebody asked him that he wouldn't have been as helpful and friendly as Julie was on that occasion.  The point that Key Notes is trying to make is that it is Julie and Dave's love for what they do that has led to Road becoming one of the most iconic names in Irish indie music and it is this iconic status that led to the great shock many Irish indie music fans felt when news broke in January of this year that Road may soon have to close its doors.

In the first part of the following interview, Key Notes talks to Dave about the reasons behind Roads potential closure, many of which show that age and demographics are playing a critical part in Irish indie music.  In the second part, we examine the future of not just Road, but all Irish indie records stores and talk about the efforts being made to save Road Records including One for the Road, a benefit gig featuring Choice winner Jape as well as The Jimmy Cake, Si Schroeder, Colm Mac Con Iomaire, Adrian Crowley, The Large Corporation (a.k.a. The Dudley Corporation vs. Large Mound) and the Road DJs.  Tickets for this gig, taking place in Andrew's Lane Theatre on March 14, are priced at 20 europes and are available from Road and WAV Ticket Office.

Interview Part 1 - Reasons for Road's Potential Closure (MP3, 9 MB)

Interview Part 2 - Future of Road & Irish Indie Record Stores (MP3, 9 MB)

 


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08
Not that you’d know from reading this indie-pop-orientated blog, but Paris is renowned for dance music.
 
Generalising wildly, there are two strands of it. You’ve got your flashy, crowd-pleasing DJs like David Guetta and Bob Sinclar who are big in France but viewed worldwide as alcopop-flogging irritants. Then there’s your more cred electronica duos, Air and Daft Punk and Justice, who get greater international acclaim and cerebral critiques.
 
YuksekAnd, just as every late ‘80s/early ‘90s Irish band was labelled ‘The New U-Know-Who’, any promising French electronician is tagged as ‘The New Daft Punk’. Such was the case with Justice, and now it’s happening to an emerging DJ who looks like making it big in 2009.
 
(Why he’s not being called ‘the new Laurent Garnier’ or other French DJ is unclear to us. Incidentally, did you see the young kid from Lille being hailed as the new Zidane? Wow!)
 
Yuksek is the nom d’electro of Pierre-Alexandre Busson from Reims in the Champagne region of north-east France. He’s prominent these days for two current album releases. One is the new Birdy Nam Nam record, ‘Manual For Successful Rioting’ (a title that’ll bring a wry smile to anyone who saw them in action at the ALT in Dublin last December), which he produced. The other is his own first album, ‘Away From The Sea’.
 
‘Away From The Sea’ features Yuksek’s 2008 track ‘Tonight’, which is gaining the Frenchman a lot of floorplay and interest around the world. Indie kids will say: it’s closer to the classic and accessible dancefloor beats of Daft Punk than the darkness and distortion of Justice. As for his DJ credentials, others more dancefloor than us can take it from there. But your alt-pop blogger likes it.
 
As for his name, Yuksek is a Turkish word that means something like ‘a height’ or ‘a high level’. Apparently Busson wanted a non-anglophone DJ name, though he’s still gone for titles in English. Still, that strain of globalism hints at the international acclaim he’s due to pick up as the new sound of le French touch.
 
Yuksek will be at a Bodytonic night at the Twisted Pepper in Dublin on 8 May for a DJ set. We know now that when DJs do a DJ set they play other people’s records and not their own. So don’t go up and ask him for ‘Tonight’, alright? You’ll just be making an eejit of yourself.
 
If you want to hear Yuksek, off with you to his MySpace page. Meanwhile, here’s the video for ‘Tonight’:
 

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05

Mechanic at workBack in January I upgraded the CLUAS discussion board to the latest and greatest version of the software that it uses. As I blogged at that time it introduced a whole bunch of improvements, including a considerable reduction of trips that had to be made to the database to pull data required for building a discussion forum page (the sort of thing I - sadly - get excited about as it means faster loading of web pages for users).

Nonetheless there was a downside to this upgrade: the code we used on the CLUAS.com home page to automatically insert links to the latest discussion topics was broken by the upgrade. I was reduced to manually putting links to recent discussions on the home page which in the hands of anyone - especially me - is a terribly inefficient thing to be doing. I did try to fix the broken code myself but, with a massively elementary understanding of SQL, I just didn't have the wherewithal to do so.

However, at last, it has been fixed and needless to say, it was not fixed not by me. CLUAS writer Stephen McNulty stepped into the breach and strong-armed Rod, an SQL wizard colleague to update the code. I updated the home page with this code late last week and ever since the links to the latest discussion topics are automatically added to the home page.

When putting Rod's code in place I also fixed another problem on the discussion board (this one involved the content of some pages on the CLUAS disscussion board being pushed downwards so that you would only see the text if you hit the 'page down' button on your PC). Thankfully I did not have to call in the experts to fix this one - I managed to work it out myself (to be honest it was a no-brainer, all it took a was the deleting of a single declaration in the CSS style sheet).

The bigger picture however is that these two updates are only minor details. There is something else cooking on the site at the moment, something far bigger (some eagle eyed readers may already have stumbled on some hints of it). For full details on what I am alluding to look out for the CLUAS newsletter in your inbox some day soon. Not subscribed to the newsletter? Then you need to sign up now...


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Nuggets from our archive

2004 - The CLUAS Reviews of Erin McKeown's album 'Grand'. There was the positive review of the album (by Cormac Looney) and the entertainingly negative review (by Jules Jackson). These two reviews being the finest manifestations of what became affectionately known, around these parts at least, as the 'McKeown wars'.