The NME & The Libertines

Reading this week’s NME, they claim “The Libertines are the most important band of our generation”.

What generation?

So a third rate derivative rock band who sound exactly the same as 10-15 other bands kicking around the UK music scene deserve this title do they? Boo hoo, the guitarists a helpless junkie and they all still love him even though they kicked him out of the band for being a smackhead. Fucking NME aims at kids who wouldn’t musically know their arse from their elbow. Where’s the balanced counter reviews these days? Since Select and Melody Maker shut down, and going back a few years before, Sounds, music journalism in the UK’s gone to shit. It’s all been done before with this type of music.
But the Libertines are the saviours of rock & roll according to them. What a big crock of shit. I’m getting too old for this shit it would seem.

I’ll be back later on after doing some research on this. But explain to me why these twatty jokers are important, please. I’ve heard them in the pub, and it took us 20 minutes to work out which one of the ‘new’ bands it was: Is it Jet? Is it the Kings of Leon? Who gives a fuck? Go out and find a musical style and bunch of riffs that haven’t been done better by a 100 other bands years ago. And while you’re at it NME, go find some journalists whose musical knowledge extends further back than 1996.

What’s an NME?

The New Musical Express, the only remaining weekly music magazine in the UK.
Further to my OP, my mate Colin bumped into smackhead guitarist and singer in a Soho hotel bar where his girlfriend worked. They were acting like they were the big stars after releasing one single, and refusing to pay for drinks and giving it all that ‘dont you know who we are’ shit, to which she blatantly didn’t. This was about 12.30 on a weekday afternoon, with about 5 other people in the place, not one of which gave a fuck. Cue bouncer to ask the problem, and they promptly paid up and left like the bunch of pussies they are.

I stopped paying attention to what the NME had to say 3 years ago when they had “The Strokes are the new saviours of rock and roll!!” just before is this it? was released over here. The literal asseating that NME gives The Strokes and The White Stripes is muldoon journalism at its worst.

I fear that Q is the only good musical read about. Unfortunately, it’s only real opposition is Mojo but that is more aimed at people who believe music died when Peter Gabriel left Genesis.

A seniment that has been repeated many, many times down through the ages. Music journalism has always been the same, essentially: You get the frivolous hyperbole of the likes of the NME, Smash Hits, Kerrang etc and, on the other hand, the earnestness of Q, Mojo, Uncut etc.
NME will be scything down the Libertines as never-weres in a year or so and in 15 years Mojo, or an offspring, will be re-discovering them and telling us they were not that bad after all.
Its a game, that’s all: One with a sometimes-great soundtrack.

I stopped reading rock journalism after being told 22 years ago that Culture Club were destined to be bigger than the Beatles.

NME is still around? Damn.

What is that exactly?

And I have to say I find most music hyperbole to be, well, just that. Frankly, it does nothing but embarrass the person spouting it. Sort of like when folks were saying that “Hey Ya” by Outkast was the anthem of a generation. Right. :rolleyes:

sorry, I really shouldn’t use invented insults :slight_smile:

I use “Muldoon” to be any sort of insult for any real occasion. It’s the equivalent of “mook” in Mean Streets :slight_smile:

What I meant in this case was over hyped bullshit journalism.

I knew what you meant by muldoon.

C’mon yis taxpayers!

I note they review ‘Bubblegum’ by the Mark Lanegan band in this weeks issue too. Give it a good score, but then have a sidebar stating what other Lanegan stuff you should listen to. The Singles OST? Dust by Screaming Trees? Hardly their or his best stuff. But then the NME wouldn’t know that would they, stupid bunch of last band we had free tickets off the record label to go see and they sucked our cocks and/or shot up in front of us motherfuckers that they are.

Smack does not = cool, fuckwits. Neither does attempting to sound like the Mary Chain or whoevers flavour of the month to ape this time around.

I cancelled my subscription to NME about 5 years ago after finally coming to terms with the fact that it had decended into being pure self-hyping wank.

Every now and again i’ll pick up an abandoned copy in the pub (yeah, thats what people read in pubs in Hoxton :eek: ) just to confirm that its still shite and i’ve yet to regret my decision.

Its a magazine for people who desperately want to be able to “talk” music without having to go through the whole process of actually having to listen to a variety of stuff themselves. I mean, God forbid that they actually have form their own opinions, i mean, come on! then they might run the risk of liking something that other people don’t!

Sorry, but NME has becoming fucking Heat Magazine for the Coldplay Generation. You get better music writing in the Big Issue than NME these days.

Ah the English music press. They have no taste. I don’t mean bad taste, I mean none. Every band is shite or the best thing since Kajafuckinggoogoo. It’ll be someone else next month.

They go and see someone’s mate’s band and find out whether the singer owns a copy of some Nick Drake record, toss a coin to see whether that makes them in or not, pump them up then dump them like a sack of shit when some slightly more reserved indie-saddo sniffs at their mention in the queue at the kebab shop.

Every one of them would have a record collection that’s been sanitised several times in case someone cool drops over to take a leak and finds that they still like The Stranglers.

The NME just tells you whether yo-yos are in. Scooters are the new black, they’re naff, they’re cool retro style - all good information from 800 of the 20 people who saw that Clash gig in '76.

That annoying characteristic isn’t just limited to the English music press. Just about anywhere, you’ll find there’s a continuing battle between rock & roll listeners over who’s hipper than thou. As proof, check out this site.

So, music journalists are worthless? Whoa, dude, don’t go out on a limb there … :smiley:

(What Frank Zappa said.)

Oh, and hawthorne, wasn’t it an NME writer who said that The Clash should have stayed in the garage (causing Joe to pen “Garageland”)?

How exactly is this surprising? NME has always been full of shit. In 1992, I remember reading an interview with Beth Gibbons (Portishead) where they said something about her having a better voice than Billie Holliday.

Wouldn’t “NME and the Libertines” make a good… :smack: WHAT?

I do think the UK press tends to hype the shit out of worthless bands with far more fervor than most countries, though. Pick up an issue of Mojo or Uncut or Q or the NME and chances are there’ll be some writer gushing about the glory days of Cliff Richard & the Shadows or some similar “legendary” band that didn’t mean shit to anybody else on the planet (and not because of xenophobia, either). I mean, witness Oasis or Radiohead - two bands that are for the most part pretty boring, and whose success seems (to this American) to be almost wholly due to the constant praise heaped upon them by the British press. Remember the Manchester scene of the late 80s/early 90s? Yeah, there was an earth-shaking revolution. Meanwhile, there are great British bands they should be trying to let the rest of the world know about, like The Divine Comedy (sonically akin to Radiohead, some say, plus hooks and minus a Pink Floyd infatuation) or Ash (Oasis without the smugness) who seem to get no ink. Still, the writing’s usually more in-depth and intelligent than most major American rock mags.

I’d have to disagree with you there woodstockbirdybird. Ash get plenty of coverage in the press, and the Divine Comedy are fairly well rated by most of the magazines i’ve read here. But sonically akin to Radiohead? Get the fuck out of here! They might sound like Radiohead, a bit, maybe circa 92, but nowadays? No chance.

Oasis have been a laughing stock critically since about 96, but get plenty of coverage due to the monkey brothers outspoken views and antics. Their success is down to lowest common denominator music - catchy tunes with unpretentious lyrics that sound all like something else. And no, I don’t like them. At all.
The last interview I saw with Noel Gallagher, he stated he wouldn’t have Dave Grohl drumming for Oasis because he’s shit. Nice one Noel, you keep thinking that way, and keep rehashing Beatles/T-Rex riffs for the morons.

I remember the Manchester boom of the late 80s/early 90s. Now that meant something, along with the turnaround of the mainstream with Nirvana et al that happened shortly afterward. This time around though, The Strokes, Kings of Leon, and now the Libertines - clutching at straws. Theres just no other magazines about anymore to give a balanced view - for the age group that read NME, they’ve got a 100% marketshare for the kind of genres they cover. It needs sorting.

I suggest you read/check out the british music press before making uninformed posts.

Whoa, whoa, whoa there. I’ll give you Oasis, who have about three good songs to match their brain cells. But the Divine Comedy and Ash, better than Radiohead? Er, okaaaay. The Divine Comedy, akin to Radiohead? Erm. Only in that they (well, “he” these days) are a) a band and b) from the UK. And use guitars, I guess. Ash wrote a great pop album with 1977, they’ve not exactly pushed back the boundaries of musical innovation or excitement since then.

Anyway, why is it so odd to you that a couple of bands might be more popular over here than they are over there? We like some of the bands you guys have rejected and vice versa, just like we tend to laugh at some of the films that flop in the States (I dunno, Mystery Men for example). Why does it have to be a press conspiracy? Maybe we just, y’know, like Radiohead and Oasis more. And with the former, we’d have a point ;). I thought Radiohead were big in the States, anyway…

Radiohead got shit after OK Computer.