It's been quite a while.
Sorry.
Well! My life has been shuffled a tad since last we spoke. I am now possibly going to live in Cardiff for a year. Apparently a nice city, and also the setting of Torchwood. It'll be interesting and straight up weird living in a new city, with strange people, in a new church. After all, I've attended NKCC my whole life, and visited very few other churches. Hopefully I'm making the right choice here, but if I'm not: whatever.
I think (probably erroneously) that it'll be easier to sing in front of people I don't know, so maybe the whole "worship leader" thing will be advanced faster than if I had remained where I am. Throws the "start a band like Larry Mullen did" idea out the window, but again to that I use my teen prerogative and give the answer: whatever. What shall happen will happen and what won't wot'n't.
My plans to write a comic are still going. I still need a drawerer though.
Enough boring you! Away with me!
SamfiSh
Tuesday, 15 June 2010
Tuesday, 11 May 2010
Bugger it all and let's have a Revolution
Bugger the face off of everyone! The United Kingdom is doooomed!
Well, I am upset. Dastardly Tory scumbags got in. I am so full of impotent annoyance that I feel the urge to start a revolution. Who wants to join?
SamfiSh
Well, I am upset. Dastardly Tory scumbags got in. I am so full of impotent annoyance that I feel the urge to start a revolution. Who wants to join?
SamfiSh
Saturday, 1 May 2010
This is the end....
...beau-ti-ful friend...
Ah, it's the end of an era. The weblog that introduced me to Five Iron Frenzy(still not all that bothered), Scary-Go-Round, Bad Machinery, and the idea of blogging; exposed me to the wonders of Unrelated Thoughts Friday, LOTR fests, Strangeday Serbia '07, and - most importantly - many, many, grainy pictures of (probably) stunning sunsets.
Who can forget that short period between 1836 and 1844 in which Texas was its own country?
But let us return to the blog: many gaps in posting, - most unnoticed by me, the belated and deprived back-reader of this bizarre site - many stifled laughs as all instinct begged me guffaw with gay abandon, an activity frowned upon at 2 in the morning. It had ups, downs, repographics, photos of Hastings, musings on all things man has contrived to be and achieve. Who can forget the Brennan Manning quote on Wednesday, the 29th of November 2006? Such wisdom shared and gained.
Oh, the many adventures of near-mythical beings: DaveFace, Matt the Hat, Bits and Bobcat, the elusive Saffa and the mysterious Network. Who here was not moved to tears by the bitter enmity and final loving reconciliation between the aforementioned Hat and our own dear blogger? Who here was not enthralled by the prospect of a reference to the ancient "Fizzle's Dance"?
Oh, the new fence. Aye, Horace the Snowman.
Pictures of tiny guitarists - need more be said?
It is Over.
It is Out.
All in a Day's Work, a day that took 66-odd months. 66 odd-months?
The Life and Times of a Failed Jedi - Truly, in our hearts we shall remember ye with fondness and confusion.
Sam(/d)fiSh
Ah, it's the end of an era. The weblog that introduced me to Five Iron Frenzy(still not all that bothered), Scary-Go-Round, Bad Machinery, and the idea of blogging; exposed me to the wonders of Unrelated Thoughts Friday, LOTR fests, Strangeday Serbia '07, and - most importantly - many, many, grainy pictures of (probably) stunning sunsets.
Who can forget that short period between 1836 and 1844 in which Texas was its own country?
But let us return to the blog: many gaps in posting, - most unnoticed by me, the belated and deprived back-reader of this bizarre site - many stifled laughs as all instinct begged me guffaw with gay abandon, an activity frowned upon at 2 in the morning. It had ups, downs, repographics, photos of Hastings, musings on all things man has contrived to be and achieve. Who can forget the Brennan Manning quote on Wednesday, the 29th of November 2006? Such wisdom shared and gained.
Oh, the many adventures of near-mythical beings: DaveFace, Matt the Hat, Bits and Bobcat, the elusive Saffa and the mysterious Network. Who here was not moved to tears by the bitter enmity and final loving reconciliation between the aforementioned Hat and our own dear blogger? Who here was not enthralled by the prospect of a reference to the ancient "Fizzle's Dance"?
Oh, the new fence. Aye, Horace the Snowman.
Pictures of tiny guitarists - need more be said?
It is Over.
It is Out.
All in a Day's Work, a day that took 66-odd months. 66 odd-months?
The Life and Times of a Failed Jedi - Truly, in our hearts we shall remember ye with fondness and confusion.
Sam(/d)fiSh
Monday, 19 April 2010
Delete Head
I deleted that last post cos it made me nervous.
My blog is now adult content free
'Cept'n those swears I put below, but they were in earnest.
Anyone want to be in my band?
任何人想在我的乐队?
N'importe qui veulent être dans mon groupe?
¿Alguien quiere estar en mi banda?
From el SampeScado
My blog is now adult content free
'Cept'n those swears I put below, but they were in earnest.
Anyone want to be in my band?
任何人想在我的乐队?
N'importe qui veulent être dans mon groupe?
¿Alguien quiere estar en mi banda?
From el SampeScado
Tuesday, 30 March 2010
The inevitable Plastic Beach revoo
Album: Plastic Beach
Artist: Gorillaz
Genre: Pop, Hip-Hop, Soul, Grime, Funk, Rap
Year: 2010
Tracks: 16
Rating: *****
Mr Albarn has Worked his magic once more. Track by track? Track by track.
Orchestral Intro, while not as clever as Intro on Demon Days, is just as suited to what is to take place. Played by sinfonia VIVA, it has just a touch of weird and wonderful, and feels suitably nautical - a feel added to by the cries of seagulls in the first quarter of the piece. Like Intro set us up for a journey through a twisted and ruined landscape, Orchestral Intro sets us up through a journey through a fantastical and synthesised one.
Welcome to the World of The Plastic Beach is stunningly funky - funk provided by the Hypnotic Brass Ensemble. The opening is a fanfare that transfers smoothly to a groovy beat, and when the brass joins in, you can't help but smile. As Snoop Dogg begins his rap, the song takes it's full shape. A wonderful MCing of the album, it beats "Last Living Souls" hands down as a first track. As the music fades out, Snoop repeats the greeting-cum-warning, "Welcome to the World of The Plastic Beach", giving us our last chance to flee...
White Flag's opening is brilliant - pity about the bulk of it. Arabic strings, flutes and percussion create a fairytale setting, destroyed by the - admittedly - talented rapping of Kano and Bashy and crunchy synths. As a rap track on a Gorillaz record, it definitely disappoints - Rock the House, Clint Eastwood, November has Come, Feel Good Inc., Dirty Harry, All Alone, The Sounder..... all leave White Flag far behind.
Rhinestone Eyes is my favourite of the album. Starting out with Feel Good style half-singing from 2D that carries on throughout, this track follows in the Gorillaz tradition of double meaning. This song seems to be both a love song and a comment on pollution, global warming, etc. The synths in the chorus are rambunctious and energetic, and these with one of the only appearances of Noodle on this album are a brilliant contrast to the mostly monotone (yet emotional) delivery of the verses. Noodle's "That's Electric!" was lifted from the Gorillaz demo Electric Shock, and, as this never made it to the the album, is a brilliant reincarnation of a track that will hopefully make it to P Sides.
Stylo was not really a great choice for single, though this album seems so be lacking in these in a way that Demon Days definitely was not. Nowhere near as strong as Clint Eastwood or Feel Good Inc. this track is nevertheless a good one. The impression that the bassline was lifted from Saturday Night Fever is added to by 2D's repetition of "Overload, overload, coming up to the...", but this disco theme strangely works in it's favour. The guests are brilliant - Mos Def's rap and Bobby Womack's powerful soul solo work in tandem to complement 2D, who provides some of the best singing he's ever done. One criticism of this track would be that at times it appears that Womack is leaving unnecessarily long gaps between lines, making seem as though he is singing out of time.
Superfast Jellyfish - wow. Starting with a sample from what sounds like a 1970s advert for a primitive readymeal, the joyful and groovy beat is joined by some brilliant rapping from De La Soul. The lyrics seem to be a criticism of the music business - "I want a number 4, a number 6, and throw in a plastic doughnut" - people are so concerned about getting singles despite their quality, and artists are focusing on producing singles - they'll do a couple of singles (as in track "number 4" and "6") and then produce the album ("plastic doughnut") as an afterthought. The chorus is delivered brilliantly by Super Furry Animals' Gruff Rhys, and again, if the criticism interpretation of this song is taken, the line "Superfast, superfast, I come in last, but just in time for breakfast" could be taken as meaning that artists are so concerned about speed that their albums end up being of low quality - they come in last in terms of quality, but it comes out when people want it - where good artists release albums over a greater period of time, so their work is of higher quality but perhaps people are frustrated in waiting for the next work of the artist. What better example of this that Gorillaz? Musically this song is amazing, but much too short! As is often the case with Gorillaz, there are too few repetitions of a good chorus (Feel Good Inc., for example).
Empire Ants is very similar to Hong Kong, with relaxed accompaniment to 2D at his most Damon Albarn. About halfway through, the synths come in, and yet another brilliant disco track is unveiled. Little Dragon and the synths give an otherworldly feel, like an old Nintendo soundtrack. This track is a good example of the main problem of this album - too little 2D!
Glitter Freeze is the electric equivalent of Double Bass - an instrumental with a few spoken words halfway through the album, breaking it up. The best synths on the album and one of the best tracks, too. The beat seems very familiar, though...
Some Kind of Nature, featuring LOU(!)REED, is pure funk, with the Gorillaz twist. Reed's smooth vocals again lead a comment on pollution etc., with a great chorus from 2D. Again maybe too short, but one of the best of the album. Continues the representation of another side to 2D, with a whistful edge to his voice seen to some degree throughout the album.
On Melancholy Hill sounds very much like something of of Daft Punk's Discovery, particularly Digital Love and Aerodynamic, and is the sweetest song ever sung by 2D, and perhaps even by Damon Albarn. It is a love song in the Gorillaz tradition, it intersperses the heartfelt warmth with weird imagery ("Up on Melancholy Hill/ Sits a manatee"). The song gives the setting of a relationship, celebrates it, send it on a journey, then takes it back to where it started - lovely bit of writing. The vocals are beautiful, and the music supports and leads wonderfully. A song my mum might even like, this is amazing and a favourite.
Broken is a lament for a dead relationship, the counterpoint of On Melancholy Hill. The synthy whistles in the intro and throughout give it a sci-fi western feel, with the first verse sci-fi in feel. This is a simple song with a simple lyrical theme. It would be a favourite, but there is nothing special enough about it.
Sweepstakes is... odd. The rapping from Mos Def is great, though the beat is a bit annoying. No problem though, as Hypnotic Brass Ensemble make a reappearance, and it sounds like they brought a drummer. The real horns are complemented well by a synthesised one. Interestingly, a sign reading "Sweepstakes" appears in the video for Stylo, in the same p- lace as Mos Def's character appears. The song is quite good, though not a favourite for lack of 2D, the slightly irritating initial beat, and the fact that it's longer than it deserves.
Plastic Beach, featuring MIck Jones and Paul Simonon of The Clash, starts out sounding a bit like a track from Albarn and Simonon's The Good, the Bad, and the Queen, then moves into another Bee Gee boogie. The whole song is sung by 2D, thankfully. The verses are dark and the chorus great and bouncy, proper disco. Simonon seems wasted with a very simple bassline, but a very very good song. Another track short though - a recurring problem with this album.
To Binge is another 2D/Little Dragon duet. with some great vocals from the former. Better and much more interesting than Empire Ants, this is yet another love song. The guitar is relaxed and nautical in sound, congruent with the concept for the album. As a love song, this is seems to be a conversation between two lovers. It's alright, but not special.
Cloud of Unknowing features the return of Womack and sinfonia VIVA, and could be seen as the Plastic Beach equivalent of Latin Simone (Que Pasa Contigo?). Very far from Womack's performance on Stylo, he is really very smooth here. A great counter to the rap tracks from earlier on. Maybe this should have been the closer, as it is so relaxing and sounds so very very deep. Also, is starts and finishes with Seagulls, so would have been a nice bit of cyclic sound.
Pirate Jet starts with bouncy synthvox and twinkly percussion, adding a playful sound. The synths that come in next make it seem more serious however, as does the lyrics. Almost certainly about global warming, this song is a bit of a let down as a album closer, and would have been better as a penultimate. I know the Japanese version has a couple more tracks, but still. No M1A1 or Demon Days.
Overall a superb album, one that completes what was very sadly revealed to be the Gorillaz triptych. The concept is adhered to the whole way through, and is explored marvellously. I very much recommend!
SamfiSh
Artist: Gorillaz
Genre: Pop, Hip-Hop, Soul, Grime, Funk, Rap
Year: 2010
Tracks: 16
Rating: *****
Mr Albarn has Worked his magic once more. Track by track? Track by track.
Orchestral Intro, while not as clever as Intro on Demon Days, is just as suited to what is to take place. Played by sinfonia VIVA, it has just a touch of weird and wonderful, and feels suitably nautical - a feel added to by the cries of seagulls in the first quarter of the piece. Like Intro set us up for a journey through a twisted and ruined landscape, Orchestral Intro sets us up through a journey through a fantastical and synthesised one.
Welcome to the World of The Plastic Beach is stunningly funky - funk provided by the Hypnotic Brass Ensemble. The opening is a fanfare that transfers smoothly to a groovy beat, and when the brass joins in, you can't help but smile. As Snoop Dogg begins his rap, the song takes it's full shape. A wonderful MCing of the album, it beats "Last Living Souls" hands down as a first track. As the music fades out, Snoop repeats the greeting-cum-warning, "Welcome to the World of The Plastic Beach", giving us our last chance to flee...
White Flag's opening is brilliant - pity about the bulk of it. Arabic strings, flutes and percussion create a fairytale setting, destroyed by the - admittedly - talented rapping of Kano and Bashy and crunchy synths. As a rap track on a Gorillaz record, it definitely disappoints - Rock the House, Clint Eastwood, November has Come, Feel Good Inc., Dirty Harry, All Alone, The Sounder..... all leave White Flag far behind.
Rhinestone Eyes is my favourite of the album. Starting out with Feel Good style half-singing from 2D that carries on throughout, this track follows in the Gorillaz tradition of double meaning. This song seems to be both a love song and a comment on pollution, global warming, etc. The synths in the chorus are rambunctious and energetic, and these with one of the only appearances of Noodle on this album are a brilliant contrast to the mostly monotone (yet emotional) delivery of the verses. Noodle's "That's Electric!" was lifted from the Gorillaz demo Electric Shock, and, as this never made it to the the album, is a brilliant reincarnation of a track that will hopefully make it to P Sides.
Stylo was not really a great choice for single, though this album seems so be lacking in these in a way that Demon Days definitely was not. Nowhere near as strong as Clint Eastwood or Feel Good Inc. this track is nevertheless a good one. The impression that the bassline was lifted from Saturday Night Fever is added to by 2D's repetition of "Overload, overload, coming up to the...", but this disco theme strangely works in it's favour. The guests are brilliant - Mos Def's rap and Bobby Womack's powerful soul solo work in tandem to complement 2D, who provides some of the best singing he's ever done. One criticism of this track would be that at times it appears that Womack is leaving unnecessarily long gaps between lines, making seem as though he is singing out of time.
Superfast Jellyfish - wow. Starting with a sample from what sounds like a 1970s advert for a primitive readymeal, the joyful and groovy beat is joined by some brilliant rapping from De La Soul. The lyrics seem to be a criticism of the music business - "I want a number 4, a number 6, and throw in a plastic doughnut" - people are so concerned about getting singles despite their quality, and artists are focusing on producing singles - they'll do a couple of singles (as in track "number 4" and "6") and then produce the album ("plastic doughnut") as an afterthought. The chorus is delivered brilliantly by Super Furry Animals' Gruff Rhys, and again, if the criticism interpretation of this song is taken, the line "Superfast, superfast, I come in last, but just in time for breakfast" could be taken as meaning that artists are so concerned about speed that their albums end up being of low quality - they come in last in terms of quality, but it comes out when people want it - where good artists release albums over a greater period of time, so their work is of higher quality but perhaps people are frustrated in waiting for the next work of the artist. What better example of this that Gorillaz? Musically this song is amazing, but much too short! As is often the case with Gorillaz, there are too few repetitions of a good chorus (Feel Good Inc., for example).
Empire Ants is very similar to Hong Kong, with relaxed accompaniment to 2D at his most Damon Albarn. About halfway through, the synths come in, and yet another brilliant disco track is unveiled. Little Dragon and the synths give an otherworldly feel, like an old Nintendo soundtrack. This track is a good example of the main problem of this album - too little 2D!
Glitter Freeze is the electric equivalent of Double Bass - an instrumental with a few spoken words halfway through the album, breaking it up. The best synths on the album and one of the best tracks, too. The beat seems very familiar, though...
Some Kind of Nature, featuring LOU(!)REED, is pure funk, with the Gorillaz twist. Reed's smooth vocals again lead a comment on pollution etc., with a great chorus from 2D. Again maybe too short, but one of the best of the album. Continues the representation of another side to 2D, with a whistful edge to his voice seen to some degree throughout the album.
On Melancholy Hill sounds very much like something of of Daft Punk's Discovery, particularly Digital Love and Aerodynamic, and is the sweetest song ever sung by 2D, and perhaps even by Damon Albarn. It is a love song in the Gorillaz tradition, it intersperses the heartfelt warmth with weird imagery ("Up on Melancholy Hill/ Sits a manatee"). The song gives the setting of a relationship, celebrates it, send it on a journey, then takes it back to where it started - lovely bit of writing. The vocals are beautiful, and the music supports and leads wonderfully. A song my mum might even like, this is amazing and a favourite.
Broken is a lament for a dead relationship, the counterpoint of On Melancholy Hill. The synthy whistles in the intro and throughout give it a sci-fi western feel, with the first verse sci-fi in feel. This is a simple song with a simple lyrical theme. It would be a favourite, but there is nothing special enough about it.
Sweepstakes is... odd. The rapping from Mos Def is great, though the beat is a bit annoying. No problem though, as Hypnotic Brass Ensemble make a reappearance, and it sounds like they brought a drummer. The real horns are complemented well by a synthesised one. Interestingly, a sign reading "Sweepstakes" appears in the video for Stylo, in the same p- lace as Mos Def's character appears. The song is quite good, though not a favourite for lack of 2D, the slightly irritating initial beat, and the fact that it's longer than it deserves.
Plastic Beach, featuring MIck Jones and Paul Simonon of The Clash, starts out sounding a bit like a track from Albarn and Simonon's The Good, the Bad, and the Queen, then moves into another Bee Gee boogie. The whole song is sung by 2D, thankfully. The verses are dark and the chorus great and bouncy, proper disco. Simonon seems wasted with a very simple bassline, but a very very good song. Another track short though - a recurring problem with this album.
To Binge is another 2D/Little Dragon duet. with some great vocals from the former. Better and much more interesting than Empire Ants, this is yet another love song. The guitar is relaxed and nautical in sound, congruent with the concept for the album. As a love song, this is seems to be a conversation between two lovers. It's alright, but not special.
Cloud of Unknowing features the return of Womack and sinfonia VIVA, and could be seen as the Plastic Beach equivalent of Latin Simone (Que Pasa Contigo?). Very far from Womack's performance on Stylo, he is really very smooth here. A great counter to the rap tracks from earlier on. Maybe this should have been the closer, as it is so relaxing and sounds so very very deep. Also, is starts and finishes with Seagulls, so would have been a nice bit of cyclic sound.
Pirate Jet starts with bouncy synthvox and twinkly percussion, adding a playful sound. The synths that come in next make it seem more serious however, as does the lyrics. Almost certainly about global warming, this song is a bit of a let down as a album closer, and would have been better as a penultimate. I know the Japanese version has a couple more tracks, but still. No M1A1 or Demon Days.
Overall a superb album, one that completes what was very sadly revealed to be the Gorillaz triptych. The concept is adhered to the whole way through, and is explored marvellously. I very much recommend!
SamfiSh
Monday, 29 March 2010
YES
I am listening to music and it's like my ears are crying with happiness
I am so overcome with emotion I am going to use some very bad words
Fuck yes, bitches
Sorry to children reading this - go tell you parents what you read, and then pray out the evil
SamfiSh
P.S. rock, rock on
I am so overcome with emotion I am going to use some very bad words
Fuck yes, bitches
Sorry to children reading this - go tell you parents what you read, and then pray out the evil
SamfiSh
P.S. rock, rock on
Saturday, 27 March 2010
eek
Hello there, damned denizens of this windblasted and withered realm of greed, sin, and endless wonder that is the internet. How are you?
I am once again sleep deprived, so expect small things.
As i near the end of my 40 day music fast, I find myself with more and more songs stuck in my head. Is this because of anticipation? Or perhaps 40 is a magical number that God has put in our brains for funsies? Will we ever ever know?
If any one of us was singing Cher songs loudly in public and our brains prevented us from knowing this, would it matter or do we need to check?
Hmmm, yeah byeeee
sAMFIsH
I am once again sleep deprived, so expect small things.
As i near the end of my 40 day music fast, I find myself with more and more songs stuck in my head. Is this because of anticipation? Or perhaps 40 is a magical number that God has put in our brains for funsies? Will we ever ever know?
If any one of us was singing Cher songs loudly in public and our brains prevented us from knowing this, would it matter or do we need to check?
Hmmm, yeah byeeee
sAMFIsH
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