Reject...a white man
2008-10-22 20:07 by Wally
I'm currently in negotiations with All American Rejects to license the right to use only their music to front my promo efforts from now on. Magic
And while I'm at it, have a read of Babelfish's English translation of a recent Italian review of my Like Drawing Blood album:
Beloveds, most expensive readers. Welcome to the future. Finally. A tizio that it comes from an improbable part of the world, than locked up in small room behind its laptop, it produces as it had in hand an orchestra, and to public the disc of the year. Wally De Backer is called, is Belgian, but it lives in a dispersed mountain in Australia, it is made to call Gotye and if this does not make the botto it wants to say that the industry and pathetic the thousands of public wants and Pete Doherty deserves others. Wally is a man without image, all brain and substance. The laptop it is the box magical it from which synthetic songs exit that they have of the miraculous one. A its song contains all the one which you could demand to Dj Shadow, Lalo Schifrin, U.N.K.L.E., Beck, John Barry, Jamie Lidell, Giran Bregovich, Chemical woven Brothers in terms of sonorous, and not only, to compose topics breviums, essential things, unforgettable. It also sings with wonderful croonering a white man, like a still adolescent Sting. I do not know if I succeed to explain itself. This disc is not normal. The better one is concentrated than ideas happen that me to listen from years, the job of an artist who refuses to wonder in which market its product will end, if to be POP, rock, soul or folk, but that simply it assembles with piglio of the true genius songs that the risuonano overhead from a life. On "Like Drawning Blood" there is all. The time in order to dance ("Learnaligivinalovin"), in order to be touched ("Heart To Mess"), in order to let to transport from sounds outside from the time ("Seven Hours With To Beackseat Driver"), in order to dip itself in the melancholic smoke of a night without end ("Puzzle With to Piece Missing", "Nightdrive"). It is a simple disc in the single appearance of the format song. But dense in the harmonic search, the stilistica synthesis, the wonderful compositivo equilibrium. I have ended the adjectives. Tried on Youtube its beautifulst video and fairies those that is right. Supported this overed-measure talent.
Three things are clear from this enlightening piece of journalism: (i) I live in a dispersed mountain, (ii) i <em>do</em> sing with wonderful croonering a white man and (iii) Pete Doherty deserves others.
When will NME's journalism step up to this level? I succeed to explain itself
Peter Live in Belgium
2008-10-21 20:12 by Wally
Before returning home I visited the mother country (Belgium) for a live performance on a new music tv show. Hosted by Peter Van De Viere, a celebrated young radio deejay on Belgian alternative radio, this was the first show of a 10 episode series and I was told there was much expected of his crossover into a major television timeslot, as well as the program’s back-to-back presentation of established mainstream artists (e.g. Katie Melua, Kate Ryan, Helmut Lottie) with newbies and up-and-comers (i.e. Goyttraer).
It was certainly an interesting, um, mix- bikini girls in a spa, covers of Billy Ray Cyrus, Flemish-language pop songs from the ‘60s and… me! I played Learnalilgivinanlovin live with the studio backing band (the first time I’ve played without any pre-prepped backing vox or loops), and then busted out my best “Kangaroo accent” for a Flemish interview with the host Peter
2008-10-20 20:52 by Wally
It’s been ages since I’ve blogged anything. Reason: I’m lazy. Well, actually, I’ve been touring around Europe. And I’m lazy. Actually, more correctly, I decided that it’s more fun/interesting/worthwhile to actually get out and experience…stuff, instead of sitting in a hotel room writing blogs about experiencing…stuff. Or, perhaps more sadly, embellishing half-experiences of stuff you’ve cut short because you got on the internet to blog about those amazing…half-experiences.
Maybe that’s enough circularity for one piece of writing. How’s about I move onto…um, stuff. About the touring and whatnot.
Wowee…a month in Europe. My first big headline tour. Massive stadiums full of screaming fans peeing their pants, helicopter rides between the hotel and the milk bar for midnight snacks, hordes of desperate tweens clamouring for a glimpse of my pasty white legs stepping out of a limousine in a sheer red dress. New York. London. Paris. Actually, New York’s in the United States. Um...I coulda gone there in the helicopter…but I didn’t feel like it.
So London and Paris are true. And then there was Dublin and Glasgow too. Four dates in Germany (Berlin, Munich, Hamburg, Cologne). Belgium was reasonably well represented with gigs in Antwerp and Leffinge (outside Bruges), and Amsterdam rounded out my Flemish-Dutch romp. Easily the most intense collection of Gotye shows and travel I’ve done in a month-long period.
And it was bloody great! Though it couldn’t really have started off any worse…read on
UK Customs and Aviance Baggage Services: sssssuck it.
Folks from Europe and the States don’t really understand what a “long haul” flight is. Seven hours between London and New York? That’s like a trip down to the milk bar (in a helicopter). Only once you sit stock-stiff in an economy class seat for 12 hours, to go through an unnecessary extra security check at Hong Kong airport in transit between the plane you were on and…wait for it- the same plane! to fly ANOTHER 12 hours onwards to London do you know what flight fatigue really is. The last thing you want to do when you get to Heathrow is wait around unnecessarily. For your bags, for impossibly long passport check lines, for customs searches. Okay…that’s not fair. Everyone’s gotta do it (the checks and things…not 24 hours flying from Australia). But for me and my crew starting this tour, it got a little stupid
After eight hours of keeping us waiting without a single scrap of information as to the development of the “standard process” we were supposedly experiencing, UK customs sent my girlfriend back to Australia on the first available plane (!). They thought there was “reasonable suspicion” that she would be working with our touring party. The most farcical part of the whole thing: she had a valid work permit all along. I guess simply hanging out with a bunch of musicians is treated like a terrorist act in the UK.
Bad start to the tour? It got a little bit worse: Qantas decided to leave my soundcard, a critical bit of technology without which I can’t play Gotye shows, in Melbourne. Why? “Maybe it was a bit heavy, sir” the Aviance Baggage Services man told (fyi, Qantas outsource their lost baggage service at Heathrow to this company Aviance- so they can wash their hands of dealing with their own customers’ baggage issues). Anyways, “maybe it was too heavy” the man says. Out of the corner of my eye, I caught a glimpse of a monstrously overweight man that had seat(s) on our flight, picking up his similarly obese suitcases from the baggage belt and waddling out of the terminal. To ask the gentlemen at Aviance if they couldn’t have left that guy behind in Melbourne instead seemed rude
Okay, I might stop with the whingeing there. Suffice to say our coupla days off in Bristol before the tour started were unfortunately consumed entirely by the retrieval of said soundcard (and I was feeling pretty black about the whole tour chatting to my girlfriend who was back in Australia). Everything from here could only get better
And thankfully it did. Here are some random highlights:
*Starting the run with a gig two metres below water level, on a boat called Thekla, moored on Bristol’s docks
*Smearing hommus onto bread…with a banana, in the back of the bus at 2am after the Manchester show
*Pink bandanas and karate kicks in the Glasgow streets
*Clare Bowditch's improvised avante-pop performances using a Casio keyboard and loop station pedal
*All-you-can-eat ribs in Bruges the first day, and massive pots of mussels the following night accompanied by incredibly heavy local beers served in glasses that resembled a test tube.
*An interview with French hipsters sporting spelunking helmets and flashlights on their heads, in the men’s toilet at the Paris show.
*Two sold out London shows. Unfortunately, I was probably as depressed as I felt anytime on the tour both the times I was in London. Maybe it was the weather. The show’s were still pretty good and there were smiles from crowd when I snapped this extremely blurry pic:
The shows? Well, you shoulda been there. I won’t recount every punch-the-sky moment, or the incredible flying congas. The cream cakes in the face were a nice touch though.
And in terms of things that happened in reality, I especially enjoyed the later parts of the sets where I was joined by members of a brilliant band from Melbourne, Lamplight. Mijo, Indiana and Luke played alongside me on guitar, violin and double bass respectively for the first ever renditions of Seven Hours With A Backseat Driver, a stripped back version of Worn Out and a dance-enhanced finale of Learnalilgivinanlovin. Thanks guys, it was a blast.
So what now? Well, I reckon it's high time I write some new music. I've been trying consistently for the last coupla years but it hasn't been very good stuff. I decided to scrap everything recently actually. You can hear it here if you're interested
The Basics have got a heap on between now and December. Shows at high schools over the next two months in support of Lifeline (it could be your school) as well as workshops with remote Aboriginal communities in the Northern Territory, followed up by an East Coast tour of Australia with Japan's favourite rock'n'rollin sons, The Bawdies.
If you wanna hear some new music I have actually been involved in making, then listen out for the band's new single With This Ship in the coming month. Crackin'
I hope I'm not addicted
2008-08-11 21:06 by Wally
The "sexiest, most desired man in the world", according to his own book covers, has much to say on how to "mayk romans wehrk". But I can't help thinking that when he goes out with one of da ladeeez and wants to score, he's still thinking:
I hope I'm not...
Many thanks to Giantmonster for sharing the love
Melcochita gets annoying
2008-08-07 21:10 by Wally
I randomly bought a cd of reissued Peruvian boogaloo music from the '60s the other day and made a remarkable discovery.
The Annoying Thing (otherwise known to the world as the Crazy Frog may have origins that go far deeper than Swede Daniel Malmedahl's sound bite, which sent the world into a novelty sound effect ringtone tie-in distracting annoying craze a few years ago
Malmedahl's 1994 recording (apparently an impression of a two-stroke moped engine uniquely known to the Swedes! A likely story!)
Peruvian artist Melcochita, as featured on the compilation "¡Gozalo!": Bugalu Tropical Vol 2 (above), singing "Cobardía", originally recorded in the mid '60s:
Are you getting that?
Melcochita, known early on in his career as Pablo Branda Villanueva, had a particular style of entertaining the crowds apparently; one that included "dancing and playing various instruments". (!). How remarkable. He also apparently "sugared" his audiences, and this is where the nickname Melcochita came from.
Now I don't know Peruvian, but perhaps if the word for "sugared" is a synonym or homonym of the word for "annoyed", we have a little more proof that Melcochita is, IN FACT, the original Crazy Frog.
...or perhaps that Sweden's Daniel Malmedahl, now a little known computer components salesman from Gothenburg, was actually a massive pop star in Peru before he regressed many decades in age, revived his famous sugaring/annoying talents, and gave the world perhaps it's worst novelty entertainment ever. No instruments and dancing here though! Well...maybe dancing. By an animated frog-like thing with his doodle flapping about (which apparently got removed after too many families complained about multiple prime-time showings of the ringtone add)
And of course, following on from these frivolous hypotheses, I couldn't resist bringing the original Crazy Freakin' Peruvian Sugary Frog of the '60s together with his terribly annoying latter-day incarnation:
Yes. This is the first track from the new Gotye record. Start requesting at radio please