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      Gary Glitter victim seeks about £500k damages for ‘terrible impact’ on life

      news.movim.eu / TheGuardian · Yesterday - 15:41


    High court judge to rule on level of compensation awarded to woman sexually abused by pop star

    One of Gary Glitter’s victims is seeking about half a million pounds from the disgraced musician in damages, the high court has heard.

    The woman is suing Glitter, whose real name is Paul Gadd, after his 2015 conviction for abusing her and two other young people between 1975 and 1980.

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      Caity Baser review – cartwheeling celebration of chatty, bratty girlhood

      news.movim.eu / TheGuardian · Yesterday - 10:20 · 1 minute

    O2 Academy Leeds
    The Southampton newcomer uses her superpowers of candour and comedy to full effect

    Of all the words to describe Caity Baser, shy would not be high on the list. On the opening night of her Still Learning tour (“my mixtape, which is number fucking seven in the charts by the way!”), the Southampton newcomer appears in silhouette behind a giant L plate, striking a pose as disembodied voices bemoan her attitude, her songwriting, the feeling that “she’s fit but can’t sing”. Tearing things down with a baseball bat, she steps out in a mesh top and frilly pantaloons, lurching headlong into I’m a Problem. Boasting of her “big dick energy”, it has her in full flight within seconds.

    To the more conservative listener, everything about Baser’s music could be deemed a bit much – too loud, too crude, too young at 21 to really know what kind of artist she is. But over the course of an energetic hour (and the foresight to realise that her hits will sound even better with the backing of a live pop-punk band), she cheerleads and cartwheels her way through what is essentially a celebration of chatty, bratty girlhood, embracing the joys and messes along the way.

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      ‘Translation changes the original meaning’: how 70s psych rockers Happy End ended the ‘Japanese rock controversy’

      news.movim.eu / TheGuardian · 2 days ago - 15:40

    In 1969, Takasshi Matsumoto and Haruomi Hosono opted to defy rock trends by singing in Japanese, not English – paving the way for ‘city pop’ and J-pop

    Takashi Matsumoto and Haruomi Hosono faced a choice when starting a rock band in 1969: should the lyrics be sung in English, the genre’s lingua franca at the time, or Japanese? After a debate, the pair opted for their native tongue, and totally changed the course of their country’s music.

    Their group Happy End – which also counted guitarist Shigeru Suzuki and guitarist/vocalist Eiichi Ohtaki as members – merged western-inspired folk-rock with Japanese vocals – a decision that has influenced everything from internet-embraced 80s “city pop” funk to modern J-pop. “My mother language is Japanese. If you translate it, that’s like adding filters,” explains the 74-year-old Matsumoto from a meeting room overlooking downtown Tokyo. “It will change the original meaning. Then it’s not my instinct or my words anymore.”

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      ‘It was like we’d signed up for a cult’: the weird, wild world of Butthole Surfers

      news.movim.eu / TheGuardian · 3 days ago - 14:47

    The surviving members of the Texan psychedelic art rock noise band recall the drugs, fires, fights, scabies, dumpster-diving, naked dancing and primal screaming of their early days

    Nudity, raging fires, belching smoke, blinding strobes, nightmare-inducing surgical videos, fights and firearms: these are some of the things you may have encountered at a Butthole Surfers show while being pummelled by a squealing cacophony of acid-fried psychedelic noise-rock, as a man tripping wildly in his underpants screams at you through a megaphone.

    “People would be running out of our shows throwing up,” says Paul Leary, the band’s guitarist. “We were punishing these poor souls.”

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      Air review – a wild, jawdropping, widescreen extravaganza

      news.movim.eu / TheGuardian · 3 days ago - 13:48

    Coliseum, London
    The strangely ageless French chill-out duo deliver Moon Safari in an audiovisual spectacular that goes far beyond nostalgia

    The languid opening notes of La Femme d’Argent are a musical madeleine that elicits a collective gasp from the Coliseum. God only knows how many late nights and fuzzy dawns Air’s album Moon Safari soundtracked when it came out in 1998. It seemed to be everywhere, like an essential utility, and triggered a deluge of chill-out music, none of which could outdo the Parisian duo’s lambent beauty and chic retro-futurism.

    While playing all of Moon Safari, followed by a greatest hits set, in the gilded home of English National Opera is an enticing enough notion, Nicolas Godin and Jean-Benoît Dunckel deliver far more than high-end nostalgia. They have sometimes struggled to transport their exquisitely arranged music to the stage, but tonight’s presentation is light years ahead, propelled by technology that was inconceivable in 1998. Air have reimagined intimately familiar songs in an audiovisual extravaganza as spectacular as any arena show. It’s a trip.

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      ‘It’s sunny, with music bumping, and everyone in ripped clothing’: how Tyla set a new pop mood

      news.movim.eu / TheGuardian · 3 days ago - 08:00 · 1 minute

    Her song Water made the South African a global star, while her undulating dance moves inspired TikTok challenges. Now the 22 year old is ready to take her ‘popiano’ sound to the next level

    Tyla may have 4.3 million followers on Instagram (called the Tygers), but she isn’t yet used to the equivalent real-world level of fame. For instance, she was recently approached by TikTok troll Harry Daniels . “There’s this guy that finds celebrities and sings to them,” she explains. “He sang Water” – her breakthrough single – “and poured water on his head.”

    She laughs down the phone from Los Angeles, where she is promoting her self-titled debut album, which is out today. At 22, Tyla has already won a Grammy for Water (it netted best African music performance, a new category), and has performed it on Jimmy Fallon’s Tonight Show, while the song charted in more than 30 countries. This level of cut-through isn’t common for South African musicians, and Tyla knows that she is blazing a trail for the country’s music scene. “More people are starting to know about South Africa now,” she says. “They want to hear me say ‘Yoh!’ and they love the dancing.”

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      ‘I’m done with Baby Shark, thank you’: Tom Kerridge’s honest playlist

      news.movim.eu / TheGuardian · 3 days ago - 07:00

    The celebrity chef on learning the French national anthem, why he has a soft spot for Simply Red, and what gets his kitchen fired up in the morning

    The first song I remember hearing
    My dad was a big fan of the Beatles. I remember sitting with great big earphones on listening to Here Comes the Sun. It’s so melodic, cool and great.

    The song I inexplicably know every lyric to
    When I was about 16 or 17, we went on a rugby tour to France. For some reason we learned La Marseillaise – the national anthem of France – like a rugby tourist kind of thing. It’s still stuck in my head.

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      The Jesus and Mary Chain: Glasgow Eyes review – the Reid brothers get their mojo back

      news.movim.eu / TheGuardian · 4 days ago - 13:00 · 1 minute

    (Fuzz Club)
    Forget the odd longueur – their first album in seven years rekindles the Scottish indie band’s gift for mixing melody and dissonance

    Given the weakness of so much of the brothers Reid ’s post-1992 output, last autumn’s comeback single, Jamcod , was an unexpected triumph – the sound of a band rediscovering the combination of melody and dissonance that made their 1980s records so thrilling. That it’s the standout track on their first album since 2017’s patchy Damage and Joy is no surprise. Less predictably, though, there’s plenty else on Glasgow Eyes – recorded at Mogwai’s Castle of Doom studio in the city – that’s almost as good.

    The Eagles and the Beatles is a knowing love letter to classic rock set to I Love Rock’n’Roll’s riff; the Suicide-adjacent Venal Joy reprises the mechanised throb of 1989’s Automatic ; the more restrained Chemical Animal smoulders winningly, while Second of June recalls the prettiness that always lay beneath Psychocandy ’s layers of feedback. There are inevitable longueurs as well, mind: Pure Poor gives dirges a bad name, and closer Hey Lou Reid fancies itself as an epic but instead just feels like an extraordinarily slow six minutes. Still, the fact that Glasgow Eyes is three-quarters of a good record is reason for celebration.

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      ‘When I was younger I was arrogant’: Vampire Weekend’s Ezra Koenig on fatherhood and growing up

      news.movim.eu / TheGuardian · 5 days ago - 11:55

    They were initially dismissed as the acme of upper-class preppiness, but the band’s new album Only God Was Above Us is its grittiest yet. Has their frontman finally exorcised past demons?

    On its surface, Only God Was Above Us, the fifth album from Vampire Weekend, has a darkly fatalist point of view. Over some of the band’s loudest, grittiest production to date, frontman and songwriter Ezra Koenig sings of curses, missed connections and imagined wars, airing plangent anxieties about how this tumultuous era of history will be remembered. It plays a little like a knottier sequel to the band’s anxious 2013 record Modern Vampires of the City – but Koenig himself hopes the album leaves listeners with some level of hope.

    “I think fatalism taken to its extreme is optimism – some of the happiest people in the world have some element of surrender and acceptance,” he says. “There’s fatalism – the world is a chaotic place and isn’t that terrible? And then there’s optimism – the world is a chaotic place, and you gotta surf that wave.”

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