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Day: 21 January 2017

Manchester City 2-2 Tottenham Hotspur

With Liverpool losing at the hands of a Swansea City resurgence, and Manchester United only just salvaging a point against Stoke City, the door was left wide open for Tottenham and Manchester City to take advantage and climb the table. A frustrating day for the Blues left them with a point, whilst Tottenham will feel much the happier of the two.

If this game was a film… La La Land

Photo: Wikimedia Commons

Okay a loose link this week. That’s half because of my lack of originality, and half because I really, really, really wanted to tell you all about this very cute thing that Pep Guardiola did. For his birthday on Wednesday he took some of the team, including Raheem Sterling and Leroy Sané, who played excellently today, to the Printworks to all watch La La Land together. You know why? Because musicals are cool and I don’t want to hear you say otherwise!

InSané Performance

Leroy Sané had a particularly impressive performance from start to finish, as his skill was matched by his positional ability! The German under-21 international was put back into the team to hit Spurs with pace. Along with Raheem Sterling, they worked magic for the first half, as the Spurs defence could not handle their pace. Sané opened the scoring, after asking for Kevin de Bruyne to loop the ball over to him. He did. Hugo Lloris came rushing out but got a migraine on the way, so Sané could simply tap the ball past him into an open goal.

Flappy Birds

Photo: Wikimedia Commons

You know when they deleted Flappy Birds and you could sell your phone for millions on eBay if it was still downloaded? Hugo Lloris’ price-tag went up a few million that day too. After an almighty blunder for Leroy Sané’s goal, Lloris was consistent as he did it again for Kevin de Bruyne’s goal. Raheem Sterling drilled the ball across the six-yard box and Lloris comfortably collected the ball. Then he remembered the Snickers he’d left out of the fridge at home, and wondered if it had melted. He dropped the ball and de Bruyne tapped in.

Comeback

Against the run of play Tottenham got themselves a goal from courtesy of a Dele Alli header. A beauty of a cross from Kyle Walker landed on Alli’s head and there was nothing that Claudio Bravo could have done. Alli had moments before pushed Nicolas Otamendi to the ground; many in the stadium called for a red. A red would have been harsh though.

Frustration

I used to play Frustration with my sister and then storm off when I couldn’t do it. I think a lot of fans in the Etihad Stadium today almost did very similar when the referee Andre Marriner did not spot a clear shove on Raheem Sterling when through on goal. Sterling managed to stay on his feet but it put him off balance and the shot went straight to Lloris. It was a clear penalty, that Kyle Walker admitted to after the game. Sixty seconds later Son had scored at the other end and the Blues fans were sick to the stomach.

Jesus Cameo

On for his debut, Gabriel Jesus came on for the last ten minutes. Within two minutes he’d got on the end of a Kevin de Bruyne cross and scored! The crowd went wild, and Jesus celebrated madly running around the stadium. Jesus was actually in an Uber home still high fiving people out the rolled-down window, when he realised that it was offside. Despite that though, Jesus really impressed in his little cameo, showing speed, skill and that killer instinct. I’m looking forward to seeing what he’s made of, but also to make lots of near-the-line-Jesus-puns throughout the rest of the season.

Chances

There were masses of chances for City, especially in the first half. A personal favourite being when right back Pablo Zabaleta almost scored with a long range effort! The Argentinian isn’t best known for his goals but de Bruyne pulled back from a corner and he drilled it just wide.

Quotes of the Presser 

PEP GUARDIOLA: 

“When we miss a lot of chances, the referee doesn’t matter… I know you like honest people and I think Walker was, and Raheem was” — on the penalty decision that was not given by the referee. Kyle Walker admitted to pushing Sterling after the game.

“After Everton, we were out [of the Premier League title race]” then he added that he was still never going to give up.

“I am sad for the players again because when we play shit, I say we play shit, but it has not been the case for a few games… maybe in the future this will make the club stronger… these kinds of games these kind of situations.”

“We performed outstanding. It was déjà vu game.”

Presidential pondering: A philosophical analysis

Obama’s 2008 election was probably the first time so many of the millennial generation followed politics in any detail. Personally, the momentous campaign drew me in from the start. America’s financial instability just prior to Obama taking office had enormous implications to the functioning of the world economy; the American middle-class family was under threat and the working-class family faced virtually insurmountable odds to recovery.

But the Obama campaign rallied around the idealism of hope, the spirit of American perseverance and the brave inclusive responsibility that was required. What followed was, undoubtedly, eight years of mature and consequential governing, whether you feel Obama’s administration was a net benefit or a net loss (I happen to take the prior view).

These lessons from the grafting experience of holding a government together in one of America’s most turbulent periods in national politics were taken on board and fully accepted by the Hillary Clinton campaign. But this acceptance turned out to be of less relevance than analysts and academics had suggested. Indeed, Clinton was the perfect opponent for Trump who, much like the Leave campaign in the UK, managed to galvanise the ‘left behind’ — a significant group of the electorate that felt ignored by the political establishment.

As Slovenian philosopher Slavoj Žižek’s interpretation of Walter Benjamin’s old thesis goes: “Behind every fascism is a failed revolution.” Without descending (or ascending, as the case may be) into an indulgent adaptation of Hegelian political philosophy, it is certainly an apt diagnosis of the clutch moment in politics we are experiencing.

The radical centre that stand for what now seem like banally accepted liberal values are completely and explicitly serving the interest of a Western neo-liberal capitalism. As Tariq Ali describes them, they have become victims of their own success in perpetuating their established power.

Much like the 1930s, moderate orthodoxy has not provided satisfying answers to the economic problems (as well as fears of security and war) that have lingered even after a recovery from crisis. What remains from the rubble is a direct confrontation between two radicalisms – in this case, it is Trump’s authoritarian American exceptionalism versus a Sanders-esque, 21st century ethical socialism. On one hand, we have a strongman who subverts established public morality as an unapologetically vulgar and arrogant businessman, and on the other, a long-time campaigner of social rights movements. The only similarity between them is that they challenge the lethargic stupor of political elites, as figures of the Leave campaign did in the UK right, and Corbyn did on the UK left.

Hence, this dichotomy is not limited to the US election. But it is also not limited to the current political climate: similar scenarios have occurred since Plato’s time. In fact, Plato’s Republic brings to light the contradiction in democracy that is evident in the post-truth populism we are now seeing (there is an argument that all political theories run into contradictions after they have been accepted as default ‘truths’ for a while).

In Plato’s dialogue, Socrates asserts that “tyranny is probably established out of no other regime than a democracy.” His argument was centred on the values that democracy purports — equality and freedom. As democracy grows and more freedom and equality is achieved in all sectors of society but economic inequality remains, it runs the risk of repealing itself. Every kind of inequality that is left in this gradually liberalising society is despised, and elites are treated as suspect and conspiratorial.

This is fertile ground for a tyrant-in-waiting to mobilise a cult following and offer up himself as the sole solution. This is where the autocracy and rule-by-decree begins. People can ‘rest easy’ knowing that there is a powerhead that will rejuvenate the nation. They no longer have to worry about the state of democracy, because it has turned in on itself.

Fact and truth become subservient to national interest and rhetoric and the appearance of power takes precedence over diplomacy and long-term politicking. Most importantly, with Trump, the façade of ‘draining the swamp’ is more impactful than the fact that, during his oath of office, he was virtually hand-in-hand with the elites of the Republican Party and transnational corporations. If this does not remind you of Orwell’s Animal Farm, it is time to read it again.

In an attempt to be terse, Trump is repulsive. But it is these indictments to a political system that should act as motivation to change it. If the state of politics were eternally blissful, there would be no reason for anybody to feel righteous indignation or interest in playing a part in changing it for the better. This is why one can envisage a counter-attack from the millions of Sanders supporters, who would do a good job to provide a vision for people that will see that Trump is a fraud when he cannot deliver on the high expectations he continues to provide for himself.

Further suggestive of the possibility of a pendulum swing in US politics is this analysis by Nicholas Kristoff of the New York Times during inauguration week: “Voters are fickle and promiscuous, suffering an eight-year itch for a fling with someone who is the opposite of their last infatuation. Sick of Bill Clinton, we turned to a Texas governor who was utterly different. Eight years later, weary of George W. Bush, we elected his polar opposite, a liberal black law professor. And now we’ve elected Obama’s antipode.” Perhaps Trump’s antipode awaits…

Tracks of the week: 16th January

‘Tummy Ache’ – Diet Cig

New York ‘slop-pop’ duo have always been happy to call people out for their nonsense over the course of their short career so far, but on ‘Tummy Ache’, the new single from their forthcoming debut Swear I’m Good at This, things feel a little different. Singer Alex Luciano’s charming yelp is as compelling as ever, but here the riffs are grungier and the subject matter weightier. Leaving snobby ex-boyfriends and lousy dinner dates in the past, here Luciano is all about ‘radical softness’ and the difficulties associated with carving out her own space in the macho DIY punk scene. With songs this good, Diet Cig and like-minded contemporaries PWR BTTM just might succeed.

 

‘Star Roving’ – Slowdive

Though they’ve been touring the the last few years, it’s been twenty-two years since Slowdive last put out any new music. Comeback track ‘Star Roving’ overlooks the experimentation that characterised their swansong, 1995’s Pygmalion, and looks back to the loud, reverberating shoegaze that they made their name on. The return of beloved bands is always an intimidating prospect, but this track oozes confidence: after a bright, minute-long introduction that adds layer after layer of guitars, the track introduces a driving rhythm and soaring vocals. It’s considerably brighter and more anthemic than anything else they’ve put out before. Unfortunately, it’s curiously bloodless: lacking any of the queasy romance and weightless feel that made their prior peaks so memorable, this track ends up feeling like a somewhat generic alternative-rock song.

 

‘Wild Fire’ – Laura Marling

A new cut from upcoming album Semper Femina, this track takes a few steps away from Marling’s characteristically English folk towards the sweet soul of the USA. Borrowing some vocal affectations from Bob Dylan, Marling complements the song with some clean guitars and soft keyboards, giving the song a warm and laid-back tone. Marling comes across as a wise figure imparting some wisdom on those around her: she sings “you want to get high? You overcome those desires before you come to me”, promising “I can take that all away”. In a press release, Marling explains; “I started out writing Semper Femina as if a man was writing about a woman. And then I thought…I don’t need to pretend it’s a man to justify the intimacy of the way I’m looking and feeling about women”, suggesting a subversion of traditional musical tropes in favour of an empathetic approach that is well complemented by the warm instrumentation on this song.

 

‘New York’ – Peter Silberman

It’s been a long time since anybody’s heard the Antlers frontman Peter Silberman sing in such a sparse context, having been happier to surround himself with soulful brass, post-rock bluster and hazy electronics for his full-band efforts. For his upcoming solo record Impermanence, Silberman strips things down and puts his silky, fragile voice at the forefront, accompanied by softly reverbed guitars and some swelling strings at the song’s climax. Once again he is lonely and pensive, on this track ruminating over half-memories of New York, a city that fits with the album’s titular theme. It’s comforting to know that, coming from a band better known for their complex, fussed-over instrumentals, that Silberman can be just as compelling in the format of a stripped-down ballad.

 

‘I Don’t Ever Wanna Leave California’ – Allison Crutchfield

After spending most of her musical career sharing the spotlight with her sister and sometimes-collaborator Katie Crutchfield of Waxahatchee or her former band Swearin’, Allison Crutchfield is finally stepping out of their shadow to release some music under her own name. Turns out it’s surprisingly sunny: she’s ditched the stormy punk of her previous projects for surf guitars, lilting vocals and sugary keyboards. It’s a surprisingly flattering change of style, if highly reminiscent of her sister’s foray into bright, keyboard driven pop on the Waxahatchee song ‘La Loose’. Apparently this is a big week for location-based metaphors, because alongside Peter Silberman’s ruminations on New York, Crutchfield uses California as a metaphor for a relationship that’s long been past its prime but she can’t bring herself to end anyhow: “I’m really starting to hate you and anyways I am looking to move…I keep confusing love and nostalgia.”

Album: The xx – I See You

Released 13th January via Young Turks

7/10

I See You is the third album from the London based indie band The xx. Surging into stardom in the late 2000’s, The xx is known for minimalistic production and sedated beats. However, this latest effort is their most musically complex to date.

With each subsequent release, it becomes obvious that Jamie XX is incorporating more and more electronic elements into the band’s tracks. Their self titled debut album was noted for using very few artificial components, employing a laid back acoustic style. The follow up, Coexist, a more atmospheric work, is a perfect middle ground between the two.

A key difference between this album and those before it is the use of samples. In order to easily transition from studio to concert, Jamie and co previously restricted the variety of their arrangements, however this is not the case for I See You. Using samples has allowed them to create a sound which is not only catchy but also familiar, and as a result we see some surprisingly lively tracks such as lead single ‘On Hold’. Released at the tail end of 2016, ‘On Hold’ wonderfully samples Hall and Oates’ 1981 hit ‘I Can’t Go For That (No Can Do)’, becoming by far the poppiest track in The xx’s discography.

Another new aspect is the use of additional accompaniment. The ballad ‘Performance’ beautifully uses strings to add to its emotional nature, discussing the illusion of pretending to be fine when in reality everything is falling apart. Furthermore, ‘Lips’ has a wonderful choral backing which is unlike anything we’ve seen from them before. Featuring a sample of David Lang’s ‘Just’, guitarist/vocalist Romy Madley Croft explained how the lyrics were written around the beat, which presented them with new challenges.

Unfortunately, there are a few minor issues in the album, most notably the sudden endings to a few of the songs such as ‘A Violent Noise’ and ‘Say Something Loving’. It comes off as lazy songwriting and is immensely disappointing given the excellent build-ups present. Additionally the vocal chemistry between Romy and Oliver seems nonexistent at times, especially in ‘Say Something Loving’. This leads to the emotive and often hard-hitting lyrics not having as much of an impact as intended.

Shortcomings aside, I See You is the xx’s best album to date. They seem to be taking more risks by increasing the number of layers used and it pays off, creating a more mature and compositionally richer sound. The finale, ‘Test Me’, is a testament to the band’s previous struggles and a signal that they are far from finished.

Live: Shura

9th December at Academy 2

5/10

After releasing her debut album earlier in the year, Shura rounded off her year in her home town. Between asides to the crowd about growing up in ‘Alty’, she played a set of her own brand of synth-pop. From the first song, it was clear why Shura has been on heavy rotation both at Radio 1 and 6 Music: the easily accessible pop music fits well into the Radio 1 A and B lists whilst Shura’s unique queer perspective in her lyrics appeals to the 6 Music crowd.

Yet the music often has interesting textures adding more complexity to her radio-friendly dance pop. Queer lyrics are in plentiful supply, the song ‘311215’ features a quiet spoken word interlude and the ending to ‘2Shy’ sounds like early U2. There are definitely enough interesting elements to get your teeth into. But barely.

The main problem with the show, and Shura’s music in general, is that there isn’t enough to get into. She has her moments sure, but after half a dozen very similar songs about heartbreak and love in a row, her queer perspective stops being a perspective and becomes a novelty. It stops being interesting and, since novelties tend to wear off, you end up being left with not very much. Just simplistic synth pop.

The band’s stage presence doesn’t help matters either. Make no mistake, Shura is often funny and charming, but when you and your band stand static onstage, you don’t add anything extra to your performance. However, you did get the sense that Shura did feel passionate about her final show of 2016, especially when playing to a home crowd. Unfortunately, that wasn’t enough to keep the ultimately disappointing show interesting.

Live: The Julie Ruin

4th December at Gorilla

7.5/10

As a punk performer, you’d think Kathleen Hanna may be struggling in 2016. With her band Bikini Kill, she was the figurehead of the Riot Grrrl movement of ’90s DIY music, not to mention being a poster child for third wave feminism. Now Riot Grrrl is twenty-five years old, and Hanna now has the decidedly non-punk matter of a ‘legacy’ to contend with. This leaves many artists crushed by the weight of their past successes: fans are left disappointed, crestfallen that they’re not as good as they were ‘back in the day’.

However, The Julie Ruin are the exception to this rule. The most commendable thing about the show was how it never felt like a victory lap. Old ground was never covered. Hanna talked openly about Trump (her brand of political punk rock runs deep), but also the election in Austria and the tragic fire at DIY venue The Ghost Ship in Oakland, CA. There was no trying to be relevant: The Julie Ruin are relevant!

The music played throughout the night was also diverse. Ranging from standard garage rock in songs such as ‘I Decide’ and ‘Mr So and So’, to the dancey, electroclash style of Le Tigre in ‘Time Is Up’. The highlight of the show was the set closer of ‘Rebel Girl’. It may be Hanna’s biggest song, but seeing it being played never felt like an obligation or a chore for them. Hanna and the crowd sung it as loud and energetic as possible, not caring who was watching.

Overall, what stuck out about The Julie Ruin is their unabashed enthusiasm. Even on occasional slip-ups, mainly a butchered version of Courtney Barnett’s ‘Pedestrian At Best’, it’s hard to judge them too harshly. With Hanna wigging out in every song, and Kenny Mellman, the keyboardist, thrashing the keys in a shirt and shorts covered in rainbows and dolphins, how can you not enjoy them play?

Album: The Flaming Lips – Oczy Mlody

If The Flaming Lips are experts in anything, it would be experimental, psychedelic music. So, when frontman Wayne Coyne described their new album, Oczy Mlody, as “Syd Barrett meets A$AP Rocky … trapped in a fairy tale from the future”, you can tell this is an accurate assessment. Oczy Mlody combines together 60s style psychedelic guitars, along with distorted drum machines, with limited success.

The highlight of the album is its four singles. ‘How??’ feels like the Blade Runner soundtrack smashed together with Pink Floyd’s The Wall. ‘The Castle’ is an unashamedly just the Rolling Stone’s ‘She’s A Rainbow’ with heavy electronic drums, but it works well. The best track of the four is ‘We A Family’. With Miley Cyrus’ distorted vocals, colourful melodies and spidery guitar riffs, this track’s a total romp. The reason these singles work so well is that this is where the Flaming Lips’ ambitions are on full display. Syd and A$AP do meet and they are indeed throwing a giant party.

On the other hand, much of rest of the album is made up of experimental instrumentals. Those that work well feel cinematic: the titular opening track ‘Oczy Mlody’ is a short, ambient track, reminiscent of the cold, creepy electronic score from John Carpenter films. ‘Galaxy I Sink’ combines tremolo-heavy, reverbating guitar work with overwhelming horns and strings, making something that’s straight out of Sergio Leone western.

However, whilst the instrumental type tracks are experimental and ambiguous, most of them don’t work. ‘One Night While Hunting for Faeries and Witches and Wizards to Kill’ is six minutes long and is decidedly one-note. ‘Listening to the Frogs With Demon Eyes’ is seven and a half minutes long, and all you end up wondering is “Where is this going?”, only to realise it’s not going anywhere and you never want to listen to it again. Just dull.

Partly why these tracks are so frustrating is because there is a genuinely good, 40 minute album in here somewhere. The four singles are great and the instrumentals that stick the landing really add something to Oczy Mlody. Yet, these tracks add nothing to the album and only end up disrupting the flow that this album may have had. Overall, it is a good album, but barely.

6/10