Guitar gear: 1980 Ibanez Artist

While my main instrument for both practice and live is my trusty Gibson SG, my most prized possession at the moment is a guitar I picked up second-hand nearly ten years ago. I was looking at the time for something with a Gibson-esque sound but back then my student budget wouldn’t stretch that far. The next best thing, I was told, was one of the Japanese copies but to go for a used instrument to get more for my money.

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My beloved Ibanez and my cheap-and-cheerful Tanglewood acoustic

The money in question was £400 iirc, although I’ve been told since then that similar models go for considerably more than that these days. Basically it’ll gain value the longer I keep it as long as I look after it but quite honestly I’ve no intention of selling it just yet.

Chrysalis: very cyberpunk, very French

The cyberpunk genre is one of my favourites but I’m always mindful of the label being over- or mis-used just to make a science fiction piece sound all dark and cool. Ever since I first watched Blade Runner I’ve had a fascination with futuristic stories set in high-rise dystopias though; the atmosphere and style of it appeals to me for some reason. Quite a few sci-fi stories claim to fall into this category or, as is more often the case, have the term forced on them but the 2007 effort from Julien Leclercq falls squarely in cyberpunk territory. In a good way.

chrysalis-cityscape

Perhaps part of the appeal is in the way cyberpunk draws so much from two other areas I appreciate: the twisting plotlines and ambiguous morality of Chandler-esque hard-boiled detective fiction and the gritty yet stylish feel of film noir. Being part futuristic sci-fi and part butt-kicking detective movie, Chrysalis ticks all these boxes…with the bonus of being French and therefore even cooler and more stylish. In other words, it’s pretty good.

The Verve’s 1992 back catalogue

Back in my high school days many thought the Battle of the Bands between Blur and Oasis marked the high point of the Britpop scene but amidst the high-profile chart topping acts many talented outfits went under the radar. The Verve, consisting of vocalist Richard Ashcroft, bassist Simon Jones, guitarist Nick McCabe, drummer Peter Salisbury and (for a time) guitarist/keyboardist Simon Tong, found chart success with their 1997 album Urban Hymns but they had been vying for the big time way before then. I must confess I hadn’t heard of them before this, so had to retrospectively work back to 1995′s A Northern Soul and beyond.

The funny thing is, their pre-’95 material sounds nothing like what the band’s fans are familiar with today. Ashcroft’s smoker’s baritone isn’t there, the indie ballad theme of the songs isn’t there. They owed little to their more (then) successful contemporaries at all; hell, McCabe could have passed for a younger 70s-era Dave Gilmour because the entire band wore their hair down to their shoulders. Looking back, I’ve decided that, ironically, their earliest songs were actually their best; at the very least they ought to be as well remembered as the more recent ones.

The UK TV licence and why a rethink is long overdue

For the past year I have received numerous letters from the TV licencing enforcement, including a visit from an enforcement officer, followed by more letters. Except I don’t own a TV set and haven’t owned one in all the time I’ve lived here. The enforcement officer was actually made aware of this but after being clearly informed of my no-TV situation he assured me the letters would stop being sent. They haven’t, so last week I telephoned them and explained in no uncertain terms that I do not use a TV set and therefore should not have to pay for anything.

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Apparently this will need to be confirmed by yet another home visit from an enforcement officer, although I was told by the call centre employee (who, in fairness, was very polite about the whole thing) that more letters will arrive in the meantime due to the automated nature of their distribution. All this is a heavy-handed and antiquated system that has no place in the current state of the broadcasting industry: things have moved on and it’s high time the licencing system did too.

Online proper

This is pretty much the completed site now. I could’ve coded my own layout but since I’m already planning one for my J-blog and CSS makes me tear my hair out, I’m sticking with this stock theme for now. It’s a crisp and clear layout that’s easy to customise, which means I have more time to actually update the thing.

You may notice too that I’ve deleted a lot of old posts; basically I was embarrassed at how bad my writing was so left them out entirely. The weather’s warm, my lawn needs cutting and the house needs hoovering so this is me signing off. Moar stuff to come.

The Devil’s Backbone

devils-backbone-coverI was originally planning to talk about Pan’s Labyrinth but to be honest it’s so well-known and acclaimed there isn’t much point making it the focus of any sort of review. Don’t get me wrong, I do love that film: I often cite it as one of the most immersive and spellbinding pieces of cinema in recent years but del Toro’s earlier feature, The Devil’s Backbone, is equally deserving of a mention. It’s not quite of the same calibre but there are plenty of similarities between the two and it’s outstanding enough in its own right to warrant the extra attention.

Both films are set during the Spanish civil war in the second half of the 1930s so as well as being effective supernatural chillers the stories have a definite historical background that compliments the main events: the superstition that pervaded Spanish culture at the time, not to mention the sensation of fear and unease among ordinary people, runs behind and parallel to the main plotline. The social and political upheaval adds context to what is already an effective and atmospheric gothic-style horror, making it a great ghost story but much more too.

My guitar DIY modification project part 3: circuitry

Now I’ve decided to go for a Fender Jazzmaster circuit and pickups, I’ve begun to sort out the electrical components required. Since this is a first-time project I’m not very confident in my own skills; furthermore I have a smaller Squier Stratocaster body to work with, and don’t really feel the need to have the full Jazz circuit with all those separate rhythm and lead controls. It’s going to be a configuration of two pickups, a master volume and tone, and a three-way selector switch; similar to the Telecaster I suppose, but with those distinctive pickups (which will be the most expensive and therefore will probably be the last parts I’ll buy). With the structural aspect of the instrument up to a satisfactory standard (that annoying bridge screw exempted) I now feel ready to start the wiring.

My guitar DIY modification project part 2: replacing the bridge

Here’s a healthy tip for anyone who is thinking about replacing a guitar’s vibrato bridge: before you start, for your own sake check the dimensions of the trem block, string spacing and positions of bolt/screw holes. Not all companies’ parts are made to the same specs which I’m sure is obvious but even bridges made by the same company can vary. That’s right: my “All Fender’s parts are standard size and shape, from guitar necks to cutlery in the factory canteen” assumption was a bit optimistic. It’s a simple enough design but they can’t resist making variations on the theme…

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The positions of the six screws that hold the bridge plate in place on my Squier Strat are actually a tiny bit closer together than the replacement, which I’m guessing is made to fit the bona fide Fender instruments. This made fitting the bridge plate a nerve-wracking experience, which I hope won’t affect the sound or tuning stability; fortunately everything else went (more or less) JUST AS PLANNED but it’s something I’m quite annoyed at myself about.

My guitar DIY modification project part 1: Before

I was all geared up to write another guitar review but I’m currently planning something that is hopefully interesting enough to be worth sharing. I’ve decided that the second-hand ’98 Squier Affinity Stratocaster that has been my ‘second guitar’ (read: my backup when my main one goes out of tune/breaks) is the ideal subject for screwing up modifying to be better suited to the music I’m playing. I’m a complete novice to this sort of thing, beyond the regular changing of strings and a recent pickup switch repair to my old Ibanez (more on the latter at a later date) so I’m deliberately working on an inexpensive and mainstream instrument. Because it’s such an average ‘off the shelf’ guitar the replacement of parts will be affordable and relatively straightforward too.

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This is roughly what it looked like, before the onslaught

My Bloody Valentine live 2008: Manchester Apollo

It’s strange to think that the last time MBV played a full live show I was in my final year of primary school; suffice to say that after sixteen years then, expectations were high but at the same time nobody was entirely sure what to expect. As it stands, we have yet to hear any new material so all that we have to comfort ourselves with is that the new record is, in the band’s own words, “three quarters finished” and that the recent performances held so far in London, Manchester and, later this week, Glasgow, are providing them with a bit of extra motivation to get it completed.

mbv-live-2008

The move back into the rigours of playing live and facing their fans once again seems to be taken in a somewhat tentative fashion judging by the timid and restrained on-stage presence that helped cement the ‘shoegaze’ title that their music is supposed to be categorized under. The support act for the evening, Spectrum, proved to be a well chosen warm-up outfit for the occasion, however: their ambient post-rock atmospherics (not dissimilar to Spiritualised, a band that was spawned from Spaceman 3 as Spectrum were) set the mood perfectly; and perhaps promises a comeback for Peter Kember too. The main event of the night was of course MBV’s comeback, which proved to be quite an experience.