Friday, 30 July 2010

Pet Shop Boys




Thursday night was the Pet Shop Boys' turn to entertain. They certainly lived up to and even surpassed expectations with this truly brilliant concert. Amazing in every way, these old timers can certainly show some of the young ones how its really done!


Massive Attack





Wednesday night was massive attack night. Overall, as expected, creating a soundscape with the odd hit intertwined. I'm glad I got to hear some of the best tracks from the new album as well as some classics along the way. The rather annoying Martina Topley-Bird opened as well as being present for the majority of the main act as well which was not so good, apart from that, a good concert.


Sunday, 25 July 2010

Janelle Monae: 'The ArchAndroid'

The term classic album is thrown around all too much these days. However, there is finally an album which truly deserves this tag. The artist in question is a 24-year-old American, Janelle Moane. She first came to the attention of Outkast’s Big Boi and featured on their 2006 album Idlewild. In 2007 after releasing her first EP ‘Metropolis Suite I (The Chase)’ she was signed up to Sean Comb’s record company (aka Puff Daddy? No wait, P.Diddy, wrong again! Just Diddy now isn’t it? Ah, who cares?) Finally we are treated to her first full length album entitled ‘The ArchAndroid’, parts two and three of her intended four part suite.

Underpinning the whole album is a story based around the 1927 movie Metropolis. Janelle Monae adopts the alter ego of Cindi Mayweather, an android sent back to the present day from the 28th century with the directive to liberate a fictitious community from a society of oppressors. Lost already? You’re not the only one. At 70 minutes long and 18 tracks in all, it’s a giant of an album harking back to the prog rock epics of the 1970s. The first suite deals with self realization and identity; the third suite deals with love. Having listened to this a few times I still can’t fully comprehend this tremendously audacious and eclectic album. The genres switch every track from neo-classical, Broadway, screeching punk, jazz, big band, soul, and hip-hop to name just a few. It’s literally a kaleidoscope of sounds.

So up until now it seems like a highly pretentious, pompous if you will, attempt from a young person trying to sound self-important. This is also reinforced when she starts talking about each song being a soundscape of different colors. What does that even mean? However, this album somehow remains accessible throughout as well as playful. Forget the rather complex narration and just enjoy the great music which is on offer.

It’s rather tempting to just cast her as the next Beyonce, or Erykah Badu, Lauryen Hill, or Grace Jones. The truth is, she’s not really the new anyone. She is truly an original artist, clearly with strong influences but has used them to create something truly unique. So who are these influences? They range from the classical; Tchaikovsky, Debussy to the modern, Outkast and everything in-between; Prince, Stevie Wonder, and Funkadellic.

Big Boi (a true musical genius in his own right) was probably the best choice of producer on this album and he even uest stars on vocals along with Saul Williams and Of Montral. However, the guest artists are merely the underlayers to Monaes commading presence. There is no querswitoning who is in charge here, except for probably on one track ‘Make The Bus’ which although is a great high camp track, not to dissimilar to an R&B Lady GaGa, is only one which feels out of place on this album.

Vocally, Monae seems capable of anything. She can do smooth midrange soul, understated balladry, staccato licks, and punk growls with ease. However, rather than this album showcasing her range, it never appears over the top. There is versatile but everything appears to be done for a reason. All of this is supported by what is quite a stunning band in itself and varied instrumentation to fit the talented leading lady.

Suite two starts with some neo-classical piece rather fitting to the start of a ballet performance before we are thrown into the first of a strange combination which shouldn’t’ work but does, ‘Dance or Die’ which pitches rap vocals over tribal drumming and Daft Punk style guitars hocked up to vocoder, innovative and impressive! Next is the wonderful Faster which brilliantly uses a a 1920s jazz style but is undoubtedly modern in its sound. ‘Locked Inside’ is homage to Michael Jackson’s ‘Rock with you’ and is just as impressive also. After that we get something truly innovative;’ Sir Greendown’ with its 1950s Hoolywood movie melody and downbeat synth drenched backing which is one of the albums highlights.

All this before, we get to the two monster tracks; ‘Cold War’ and ‘Tightrope’. The first is the best song Outkast never made and the second is the best James Brown song he never made fit with punching brass and energetic vocals.

Most of these songs are upbeat, however she clearly delivers on the slower tracks such as ‘Oh Maker’ and ‘57821’ which seem like medieval English folk songs. In fact she just delivers on everything. The synth pop ‘Wondaland’ is stunning, as is the punk belter ‘Come Alive’ The album closes on two songs which clearly showcase the vocal abilities of Monae, ‘Say You’ll Go’ and ‘BaPopByeYa’ which is a sprawling nine minute smoky jazz club infused odyssey which wouldn’t be out of place on a James Bond Soundtrack.

This should be a mess, the constant genre hopping, the vocal gymnastics, the cryptic story. It reads as an artist clearly overreaching herself. Yet somehow it works and flows. It’s futuristic yet retro, complex yet accessible, it shouldn’t work but it does. It’s a modern day classic, a genre defining masterpiece. At 24 years old, she has made what many artists can only dream of making in their lifetime. It’s different and certainly the best release of 2010 so far and in many a years, be prepared to be wowed!


Rating:10/10


Monday, 19 July 2010

Busy Saturday Night.

As I had no classes on Friday for Kindergarten, I took the chance to catch up on some sleep on Friday morning and early afternoon. Then it was off to work and then to Ximen after to watch Inception. It was certainly a great movie and will go down as a classic. It's very involved and I can't say i really caught everything the first time round. I seriously need to watch this again soon.

On Saturday we chilled at home for most of the day before meeting up with Steve and Hamish at 101 area for dinner. After a near two hour wait for Chilis we had dinner and then went our separate ways. We then met Noah, Elvin, and Anji at Alleycats at Hua San for a few drinks. Then it was off to Roxy Roots to meet Cha and Mike and drink away until the early hours of the morning. A great evening.

Sunday was spent just lazing around after an all-you-can-eat barbecue buffet.

Tuesday, 13 July 2010

Early July

The weather has continued to be relentless although it does seem to have dropped to a more bearable level of around the low 30s or now. Last weekend we chilled at home on Friday evening and then on Saturday I met up with Kyle, Daisy and Evan at DaLiDa for some drinks where we spent the majority of the evening. George joined later as he was working for the last night of the Film Festival.

Things look to be sorted for our trip to England as well, we got covered on insurance today and it's only a few more weeks to go! Wohoo!

Tuesday, 29 June 2010

Wash out weekend

The past couple of weeks it has become uncomfortably hot and humid. Along with that is the daily downpours which render any plans vulnerable. On the weekend, I took the chance to chill out at home in the morning and afternoon and George was working for the Film Festival. By mid afternoon it began pouring down. So I lazed around most of the day listening to music. In the evening I headed over to Dorian and Sharon's for a BBQ. At around 11 I met up with George and the guys he is hosting (Zada and Amy) in Bistro O. We drank the night away to tasty Mojitos! Sunday was another washout day so was spent relaxing at home as well. Not the most eventful of weekends!

Taiwan and China sign landmark trade agreement.

Beijing representative Chen Yunlin (L) and Taiwan counterpart Chiang Pin-kung in Chongqing, 29 JuneThe agreement will do away with tariffs on hundreds of products

China and Taiwan have signed a historic trade pact, seen as the most significant agreement since civil war split the two governments 60 years ago.

The Economic Co-operation Framework Agreement (ECFA) removes tariffs on hundreds of products.

It could boost bilateral trade that already totals $110bn (£73bn) a year.

Correspondents say that, economically, the deal favours Taiwan but that Beijing hopes for political gains in its long-standing unification campaign.

The deal is seen as the culmination of efforts by Taiwan's President Ma Ying-jeou, elected two years ago with a vow to reduce tension with the mainland.

Service sectors

The deal was signed in the mainland city of Chongqing and was carried live on state television.

ANALYSIS

Chris Hogg

Taiwanese officials have described this new trade deal as one of the most important developments in six decades of often testy relations.

For the Chinese it's an opportunity to move beyond the threatening rhetoric used frequently against the previous Taiwanese administration which lost power two years ago. Relations between Beijing and Taipei have improved markedly since then.

Some analysts regard the deal as an effort to bind Taiwan closer to China - to achieve by economic means what Beijing has long failed to do militarily. But Taiwan's government says the alternative to the deal was continued economic isolation. And the island's president has insisted the agreement won't lead Taiwan to drop its guard.

Taiwan's envoy Chiang Pin-kung said the agreement was "a critical moment in the development of long-term relations".

His Beijing counterpart, Chen Yunlin, said the pact was an agreement of "equal consultation and mutual benefits".

The pair exchanged gifts and joined in a toast at the ceremony.

The deal is seen as being most economically beneficial to export-reliant Taiwan.

At the moment $80bn in goods flows to China, and $30bn to Taiwan.

Almost $14bn worth of Taiwanese goods exported to China will have their tariffs reduced or removed.

Taiwanese companies will also gain access to a number of mainland service sectors, including banking and insurance.

Chinese exports worth just under $3bn will see their tariffs lowered.

The BBC's Cindy Sui in Taipei says this is clearly a good economic deal for Taiwan but there remains genuine concern among many that the agreement will make Taiwan too economically dependent on China and therefore politically vulnerable.


There have been some street protests in Taiwan against the deal but opinion polls suggest the majority on the island are in favour.

Taiwanese critics say the deal could leave the island's economy open to a flood of cheap imports.

They also worry about China's motives, arguing that Beijing is hoping to use it to win the political support of big business on the island for its own agenda.

Map

Chinese Premier Wen Jiabao has previously said that his country "can give up our profits because Taiwanese compatriots are our brothers".

For decades, relations between the two sides have been strained.

Taiwan and China have been governed separately since the end of a civil war in 1949.

The site of the signing, Chongqing, has historical resonance. Communist leader Mao Zedong and Nationalist President Chiang Kai-shek tried but failed to sign a truce there.

Chiang was forced to Taiwan in 1949
.

Tuesday, 22 June 2010

Jekyll and Hyde



Last weekend we went to see the musical Jekyll and Hyde at the National Theatre. It was really good and the best part was we had pretty decent seats for a cheap price! Not bad at all.

Tuesday, 18 May 2010

Last two weekends

The weekend before last was South Africa day! So in the early afternoon we firstly headed to B&Q to buy the flooring for the rooftop, the foundations are now laid for an awesome rooftop! After that we headed to the cultural village to meet up with Willie and the other Dajia gang. We hang out drinking wine and relaxing and downing some jagger shots also. Then we met up with some of George's classmates, including Angelina, at Mr Onion. The food was pretty good! Then we went to a bar near ZhongXiao DongHua where we met Dick and had quite possibly the worst Mojito ever made. Sunday was mostly spent relaxing.

Last weekend we met up with Steve and Hamish for a game of bowling, I seemed to be on top form as I beat off the competition comfortably. Then we headed to the Brass Monkey to drink, play pool and chill. A nice relaxing weekend.

Next week is going to be open day, a busy and hectic week therefore beckons. However, some respite is near. The weather was really hot around 34oC, a sign that summer is on its way and nearly time to head back to England for a visit, wohoo!!

Tuesday, 11 May 2010

David Byrne & Fatboy Slim ‘Here Lies Love’



Whether David Byrne is in the guise as an artist, director, actor, singer, multi-instrumentalist, discoverer of new world music, collaborating with legends, or fronting critically adored New Wave Band ‘Talking Heads’ there is no denying David Byrne lacks creativity or ideas; and with an Oscar and Grammy under his belt he seems to know what he is doing also. So who better to apply such boundless vision to one of the most unique offerings pop music has had bestowed upon it this year.

‘Here Lies Love’ is a concept album by David Byrne, in collaboration with Norman Cook (aka Fatboy Slim) of the former first lady of the Philippines, Imelda Marcos. It traces her life from impoverished beginnings, to keptocaracy, and the eventual demise and forced exile to Hawaii.

Imelda Marcos is certainly an interesting and intriguing character. The ‘Iron Butterfly’ as she was known, had the Beatles hounded out of her country for refusing lunch with her, danced with Andy Warhol in studio 54 and even gave speech to the UN over a philosophy combining beauty and Pacman. Probably what she is most famous for is her 2,700 strong collection of shoes. However, it’s not all light hearted. While she luxuriated in a life of decadence, her loyal subjects were destitute. Her and her husband embezzled millions of dollars and their repressive regime murdered countless dissidents.

Therefore under less guided souls, this album could have ended up a whole bunch of clichĂ©s and perfect material for a pantomime. However, under the stunning guidance of Byrne who possess the vision, perspective and creativity to carry this project, these pitfalls are avoided. Byrne draws out Imelda’s contradicting personalities and it is cleverly counterbalanced by Estrella Cumpas, the woman who raised Imelda from birth but was cast aside when she gained power and placed under house arrest.

Byrne’s research is thorough as he uses direct quotes in the songs from Imelda herself. If that wasn’t enough there is a 120 page booklet explaining the CD further still. There is no narrative on the album, consisting solely of 22 songs each sung by a guest vocalist. However, there is clearly a story being told by Byrne and they come mainly from the clouded perspective of Imelda focusing upon her frequentation of disco’s during the 1970s and 1980s, particularly of Studio 54. For this Byrne opted the help of Fatboy Slim who helps to lay the various musical styles of the day ranging from disco, Afro-Latin, Broadway and soul.

The guest vocalists are predominately female, with the exception of Steve Earle, and come from the world of country, soul pop, and folk such as Florence Welch, Cyndi Lauper, Tori Amos, Martha Wainwright, and Natalie Merchant to name but a few. Some of the songs are great. Florence Welch’s anthemic opener ‘Here Lies Love’ is fantastic with its over the top style and orchestral flourishes. Similarly, Theresa Anderson’s ‘Ladies in Blue’ could have come straight out of studio 54. It is not only the upbeat numbers which work. Natalie Merchant’s politically tinged ‘Order 1081’ is majestic, as is Shara Warden’s duet with Byrne on ‘Seven Years’.

However, it doesn’t all work; at 90 minutes long it is almost inevitable that some of the songs don’t quite hit the mark. Even worse, some of them merely fade into the background. This probably is more due to Fatboy Slim than Byrne. The choice of a once overrated DJ for a time in the 1990s was always a strange one. Although, this is the sound Fatboy Slim specializes in, he doesn’t really have the ability to sustain the quality for an entire album; especially one in excess of 90 minutes. It’s certainly a case of hit and miss. In addition, with a plethora of quest vocalists channeling just a few characters renders the whole affair rather confusing and hard to follow.

However, even it doesn’t quite hit the mark there is no taking away from the ambition of this album, it is certainly impressive! Imelda Marcos herself would probably approve many of these songs herself. If nothing else, in the age of downloaded singles, a concept album commanding attention from start to finish is commendable.

Sunday, 2 May 2010

Taiwan conducts rare executions

Taiwan has put four men to death, the island's first executions since 2005. They had been convicted of a range of "grave offences such as fatal kidnappings and murders", the justice ministry said. Correspondents say the new justice minister, Tseng Yung-fu, had been under pressure from victims' families to resume executions.

Capital punishment is a sensitive political issue in Taiwan, and is widely supported by the public. A Taiwanese human rights group, the Foundation for Judicial Reform, condemned the executions, saying the ministry had deliberately hastened the process. They were shot by firing squad, officials said.

The former justice minister stood down in March after refusing to sign death warrants for 44 prisoners. The last executions in Taiwan were of two people in 2005. A total of 49 people were put to death between 2000 and 2005.

Thursday, 29 April 2010

Special 101




The other week 101 was illuminated in all white for some reason. A rather special sight.

House Party

Last weekend we finally got round to having our house party. On Friday evening I prepared some of the stuff and then we went to Carrefour on Saturday morning to get the rest of the stuff. Then it was back home to tidy-up and get ready. We managed to be ready by around 5 and after borrowing the BBQ and some chairs from Dorion and Sharon we prepared.

I made a salad and around 6 Maria turned up. We drank, George tried to master the elusive Mojito while we snacked on salad, cheese and bread and some chips and awaited the arrival of others. Finally everyone began to arrive and so the BBQ was started, pasta was made and the music was cranked up. Thankfully a disaster was avoided when Dorion arrived to save the BBQ from burning a massive hole in the old washing machine and Jack took over BBQ duties.

Lots of food was eaten, many beverages consumed and music was listened to. At around 1ish the last had left and we all went over to Jack's. Unfortunately, I was worse for wear and passed out not long after. Sunday was a slow day but at least the party was a success. Good times!!

Sunday, 18 April 2010

How to roast a dragon.... or chicken.

We had a relatively quiet weekend this week. On Friday after work we did some shopping then headed home for a night in. On Saturday we got up latish and headed out to do some shopping for the house, some herbs and the throw-over sheets for the chair and closet. Things are virtually complete now. Then on Saturday evening I attempted to make roast chicken and roast potatoes. I wasn’t expecting much but it turned out really good actually. The rest of the night was spent relaxing. On Sunday we headed to Ximen to see another Film Festival movie called Breathless and then saw How to Train Your Dragon which was pretty good. A nice quiet weekend, next weekend will be the house warming party!

Annie's Birthday


A little over the top for a three year old's birthday but 10 out of 10 for originality. A Barbie cake!!

What the hell?


Wait a minute. Now who would actually use the toilet then proceed to stand on the toilet and then flush it? Is it aimed at trained chimps? unbelievable!

First attempt at roasting chicken (and stuffed peppers during the week)


Thursday, 15 April 2010

Goldfrapp: 'Head First'



Goldfrapp had three options available to them after releasing their fourth album ’Seventh Tree’. They could have continued on the same path of this down tempo, ambient-folk inspired album; verged off onto yet another new path; or do a U-turn and return to the dance floor which gave them such prominence on the fantastic album ‘Supernature’. For their fifth offering, Goldfrapp decided on the latter path, proving they couldn’t stay away from the dance floor for too long.

This was no surprise as this is what made them so popular in the first instance. Similarly, ‘Seventh Tree’, however brilliant it may be, was such an about turn that it’s hard to see how they didn’t alienate a large portion of their fan base with such an artistic change in direction.

‘Head First’ may very well be a dance album, but the sound is certainly different from its predecessors. Whereas before they dabbled with glam rock on ‘Black Cherry’ and electronic dance on ‘Supernature’, ‘Head First’ is an all out pure 1980’s pop affair. It comes equipped with shoulder pads, sequined leggings, and big perms all heading towards you on roller skates in the vein of Cliff Richard Wired for Sound era. The synths are out in force accompanied by disconnected melodies and dramatic key shifts. We are firmly in 1980s territory.

Not only are we dealing with a 1980s album in sound but also in length and structure. Clocking in at just over 38 minutes and starting off with three huge singles ‘Rocket’ ‘Believe’ and ‘Alive’ harks back to great albums such as Dire Strait’s ‘Bothers in Arms’. This album is a firm example of quality over quantity. Yet again, the majority of the production falls to Will Gregory, who produces the vital Goldfrapp sound. However from listening one would be forgiven for thinking Giorgio Moroder, ELO and ABBA raided the studios here. The production is as glossy as the front cover of Vogue magazine.

When all this is combined with Alison’s voice, which remains as stunning as ever, the result is nothing short of perfection. With her gentle ethereal voice ebbing and flowing over you in waves, it’s hard not to be transfixed by such beauty and taken along for the ride. The lyrics will win no prizes for being deep and meaningful; it’s an all out pop affair with simple couplets and matters of the heart.

The driving leading track ‘Rocket’ with its minor key verse and massive chorus; and the succeeding turbo charged ‘Believer’ are as infectious as anything I’ve heard and up there with the best Golfrapp have ever produced. ‘Alive’ is similarly catchy but is nothing compared to the amazing ‘Dreaming’ which channels some form of downbeat techno to stunning effects. It is not until halfway through when the ballads enter and a more experimental vocal element is included in ‘Voicething’ and ‘Hunt’. However we are treated to one more up-tempo number before the end with ‘I Wanna Life’ which feels as though Ace of Base have returned to making music.

If there legacy was in any doubt before this album then Head First consolidates Goldfrapp’s position as one of the best British duos of the early 21t century. It will disappoint and alienate some fans just as ‘Seventh Tree’ did. Goldfrapp have the confidence to abandon a sound that works and venture into new territory. Come out of the forest, disrobe from the pagan attire and head to the back of the wardrobe for the lycra and head to the nearest club. Goldfrapp are back and as good as ever!

Update...

The past few weeks have been really hectic but finally things appear to be settling down and returning to some sort of normality. After a long and arduous process of packing up everything in the old place and moving it to the new house we have finally arrived. Luckily we got a delivery company to move most of the stuff which was a fantastic idea. The thought of dragging tons of books, CDs and furniture up 6 flights of stairs was hell!

We moved in on Friday 2nd April and luckily the weekend was a long one due to Tomb Sweeping Day falling on Monday. So the whole three days was spent unloading the stuff and arranging the new house. After hours of work and a few trips to Ikea and other furniture stores we now have a open space bedroom, living room and dining area which is quite nice. We have also set-up an outdoor kitchen area. Pictures to come later.

The past week has been a major hassle at school preparing things for the end of semester play which has begun already. We have also been busy with the mini film festival which started on 9th April and runs for two weeks. The majority of movies will be reviewed later but basically most are Polanski movies with some Rocky Horror thrown in for good measure.

The weather has been pretty terrible this April so far with basically non-stop rain most days with the occasional intermittent sunny spell to cheer everyone up for a few hours now and again. Other than that, life goes on...

Monday, 29 March 2010

Weekend of Packing and Relaxing!

This is the last weekend we will spend in the old apartment. Therefore i decided to try and spend some time getting some things sorted to pack away for the dreaded move sometime in the week. Hopefully we will have the key by Wednesday and can begin moving things in from then onwards. After a late lunch at the little restaurant in the area (Jack's House) we headed home to pack. In the evening we headed to a little place on Keelung Road which did very expensive drinks, more than 400NT for a cocktail. We decided to stick to the cheap ones (just 200NT) and some pizza and nibbles. It was very tasty. We were met later by Jack and his Russian friend, Sam. We also got a shisha for around 500NT which was cherry flavored. It was actually quite nice. As we talked, ate and smoked the evening flew by. Sam went off to Luxy and the rest of us ended the night at Watersheds.

Next report should be from the new apartment, I can't wait!

Wednesday, 17 March 2010

Groove Armada: 'Black Light'



Groove Armada, a duo consisting of Andy Cato and Tom Findlay, were a firm fixture of all chill out compilations of the early 21st century. With their laid back hits such as ‘At The River’ their songs also proved a staple of numerous adverts and movies. They also offered the odd house / dance track to counterbalance, such as the fantastic ‘If Everybody Looked the Same’ and ‘I See You Baby’. They proved that they were not just about the after party comedown. They were also the main dance event as well.

All their previous albums offered something different. Their relaxed debut was followed by dance songs only to be followed with funk and rock inspired albums. They are certainly not a band that rest on their laurels. True to form, they have done exactly the same with their sixth and latest studio release ‘Black Light’. Following in the latest trend of 1980s retro acts, Groove Armada have offered an unapologetic electro-pop album full of synths, electro bass and big choruses. It’s quite a change for the duo but one that appears to have paid off handsomely. It has made them relevant in today’s music scene.

One criticism often directed at Groove Armada is that their releases have been so musically diverse there is nothing to connect the songs to a Groove Armada sound. Granted, that most of the best bands around do have a recognizable sound, whether that be the music or vocals. Groove Armada opts for neither of these two options. Instead of churning out variations of ‘At the River’ with an occasional intermittent delve into house music; they have continued to transform themselves each time. There strength lies with this constant evolution ensuring they have not faded into obscurity some time ago. Also, whereas before Groove Armada had always been about big singles rather than an album act, they have produced a consistently cohesive album and not just a couple of standout tracks.

‘Black Light’ is strongly influenced by the 1980s pop scene and reads like a list of who’s who of the time. There are certainly flourishes of Gary Newman, The Human League and New Order, and even Bryan Ferry sings guest vocals on one track, ‘Shameless’.

As the name suggests, ‘Black Light’ is supposed to represent the bands darker side and a shift away from the upbeat sounds of past releases. Whereas before they have found satisfaction by looping single-lined vocals over and over, they now attach serious messages and emotions to their lyrics rather than mere sound bites. Groove Armada have always boasted solid production and songwriting as well as wise selections when it comes to guest vocals. Vocal duties here are shared by (Empire of the Sun’s) Nick Littlemore, Saint Saviour and Jess Larrabee; and one track each for Bryan Ferry and Will Young.

Larrabee’s two offerings are strong and contribute fully to this album with the propulsive opener, of ‘Look Me In The Eye Sister’ and equally impressive, and Fleetwood Mac influenced, ‘Just for Tonight’. Saint Saviour also proves a good choice for this 1980s feel lending a softer edge to some of the coldness of synths and electro bass of ‘I Kneel Down’ and the catchy disco sing-a-long ‘Paper Romance’. Littlemore can come across as rather annoying and grating to listen to. He is tolerable on ‘Fall Silent’ but on ‘Not Forgotten’, ironically, he is better off forgotten. It’s truly awful. It is the two singers with just one a piece (Bryan Ferry and Will Young) where the true enjoyment lies. ‘Shameless’ is an instant classic from the French narrative at the start to the faded conclusion. The slow electro burn compliments Ferry’s vocals perfectly and proves to be one of the great singles of the year so far. On History, Will Young’s vocals have been transformed into a haunting affair, so much so that his voice is rendered unrecognizable to this simple yet stunning song.

Groove Armada’s constant evolution means that they have longevity into the second decade of the 21st century. They have finally produced a consistently good album which is sure to be one of the best electro-pop albums of the year. It is which much expectation we wait to see which direction Groove Armada will take next.

Tuesday, 16 March 2010

My 29th Birthday.



This is my last year as a twenty-something-year-old. This year I decided to celebrate my birthday in the Red Theatre area of Ximen. However, due to adverse weather, ie constant downpours, I relocated to Watersheds. Jack got there early to save a table and we were joined by Noah, Eddie, Richard, Erin, Steve, Matt, Adam, and Maria. As usual Watershed provided its usual great yet deadly drinks. After a few hours and few drinks later we all headed to Luxy. Fortunately we didn't have to pay due to some maria contacts of Maria. The rest of the night was spent dancing away to the early hours of the morning. (Pictures to be found on Facebook) Next year is the big 30!!

On Monday, George's mum came to Taipei and we went out for Japanese food with Angelina (which cost a fortune) and then off to Riverside to catch some live bands.

Tuesday, 9 March 2010

Marina and the Diamonds: 'The Family Jewels'



“I know exactly who I want and who I want to be” shrieks Marina Lambrini Diamandis on ‘Oh No!’, a song from her highly anticipated debut ‘The Family Jewels’. Her intention though appears to be the antithesis of what this part-Welsh-part-Greek newcomer has produced. Marina has certainly come along at the right time given last year’s surge of quasi-synth female singer-songwriters who made an impact in 2009; such as Little Boots, La Roux, and fellow newcomer Ellie Goulding. However, it is Florence and the Machine to whom most comparisons should be firmly drawn.

As with Florence Welch, Marina shares a unique name, adopted a band which doesn’t formally exist, is hotly tipped in their respective year of release and possess a fondness for eclecticism in their music. Yet where Florence generally succeeded, Marina fails to pull of the same impressive feat.

Marina has been compared to a whole array of artists both past and present including; Pink, Gwen Stefani, Regina Spektor, Tori Amos, Kate Nash, Sparks, and Siouxsie Soux to name just a few. The reason for such comparisons is that ‘The Family Jewels’ reads like am all-encompassing roller-coaster ride. There are flourishes of Ska, piano ballads, electro-pop, and power disco all set to a predominately upbeat feel. Yet the result is that it’s so in-your-face that is becomes exhausting just listening to this album. It should come with a health warning attached cautioning mandatory breaks in-between songs for fear of serious detrimental effects to one’s health.

Many of these tracks, ‘Shampain’, ‘Hollywood’, and ‘Are you satisfied?’ for example, prove that Marina can write a fairly decent pop song but they are produced to within an inch of their lives that it becomes overbearing. She just tries too hard and there are far too many ideas going on. The electro hooks and choruses literally bombard you. She doesn’t so much just throw everything including the kitchen sink at you; she includes next doors conservatory and loft conversion for good measure!

All this before we even turn to the vocals. Another comparison Marina has been associated with is Kate Bush for her eccentric vocal play. The reality is that Marina is not even close to the living genius Bush is. Marina employs a whole range of vocal styles (and I use that term loosely) such as vibrato, animal noises, shrieks, mimicking robots, and, worst of all, terrible overkill of enunciating every other syllable that she sings. Oh, I nearly forgot the screaming profanities as well. The whole affair is just simply annoying for the most part.

It’s also frustrating. The over production and inane vocal gymnastics mask some genuinely good songs. When the pace is slowed down and it’s just Marina and the piano her real talent shines through, such as ‘Obsessions’ and ‘I’m not a Robot’. Additionally she certainly has the charisma to become successful although constant references to her future success in her debut release certainly scream a large ego.

There is certainly potential here, a diamond in the rough at the moment if you will. The whole album is far too ambitious and lacks coherence. Her next release should be toned down and more focused. The biggest irony of all is that in her attempt to be different from anyone else she has made a massively commercial pop album.

Wednesday, 3 March 2010

Peter Gabriel: 'Scratch My Back'



With some noticeable exceptions aside (such as the late Johnny Cash’s American series and Nouvelle Vague) cover albums are rarely anything to get excited about. Either we are dealing with the latest X Factor / American idol contestant; or it is a sign that the artist in question has finally reached the end of their creative peak.

However, the artist in question, Peter Gabriel, is no ordinary artist. He has always been one for embracing experimentation and new ideas musically; whether that be
pioneering digital distribution methods, setting up World Music concerts, or flamboyantly fronting a prog-rock group. Whatever he does it is certainly not done by halves.

Gabriel’s latest release ‘Scratch My Back’, incidentally his first in seven years, is a “swap shop of songs”. He has taken twelve songs from artists which are either; friends, admirers or personal favorites of his own, stripped them bare, and reinterpreted them into orchestrated arrangements with the sole emphasis placed upon vocals. In return, the artists Gabriel covered will return the favour by covering a track of his on a later album this year aptly titled ‘I’ll Scratch Yours’. In addition each single (containing both tracks) will be released on each full moon. If all else fail, Peter Gabriel now has the distinct pleasure of having his own songs interpreted by the likes of David Bowie, Talking Heads, Radiohead, and Lou Reed to name a few.

One listen to Gabriel’s recent cover of Vampire Weekends ‘’ along with Hot Chip demonstrate how carefully he chooses his music. The album splits between old artists such as Paul Simon, David Bowie and Lou Reed; to the more contemporary; Arcade Fire, Bon Iver, and Elbow. To cover such artists alone is a brave move. To focus solely upon vocals seems almost madness

In all honesty, it is probably best to spend a few days before listening to this release to fully re-visit (or visit for the first time in some cases) the original songs before fully immersing oneself into this album and even then it is not going to be an easy listen.

As mentioned the vocals are at the forefront accompanied by an orchestra predominately focusing upon strings and piano. The hope was to focus on emotions and reveal the lyrical content of the songs and to force creativity under such restrictions. Therefore much of whether one likes this album will rest upon whether you like Gabriel’s voice or not. There is no doubt he has the voice to carry off such an album on this somber and sorrowful album. The vocals range from fragile to powerful and the arrangements almost give the impression these songs are scored for a movie.

The best word to describe this album is interesting. It could be great background music yet it demands attention to be fully appreciated. The trouble is, it’s rather demanding to get through this album in one sitting. Probably the best song on here is the cover of Paul Simon’s ‘Boy in the Bubble’ which takes the African inspired pop song and reveals the emotion contained within not conveyed by Simon himself. Covers such as Bowie’s ‘Heroes’ and Radiohead’s ‘Street Spirit (Fade Out)’ are certainly intriguing but add nothing new to the originals. As a broad generalisation, Gabriel fairs better with the new material than the old.

Gabriel has certainly released something to invest time listening to, yet it will probably receive polarizing opinions. As a music fan to hear a great artist cover other great artists is always a pleasure to here. I just wonder how well the public will respond to such an offering.

Monday, 1 March 2010

Hot Chip: 'One Life Stand'



In regards to their latest release, Alexis Taylor stated that their intent was to create a “more mid-tempo and disco influenced” album than their previous offerings. The product appears to only half realised. Disco, it most certainly is, but mid-tempo it surely isn’t. What Hot Chip have created here is not only a set of classic upbeat dance-floor albums, but also their best album to date. In short this album is pure electronic pop perfection.

Since this London quintet formed in 2000, Hot Chip gained a reputation for witty lyrics and experimentation. Although this produced flashes of genius, they were always trying to do too much and resulted in fragmented albums. With their fourth release ‘One Life Stand’ they have concentrated upon polishing their sound and committed to creating straightforward (house induced) love songs. It’s ‘back to basics’.

It’s hard not to like this album as it contains everything required to make good electro-pop music; from fantastic melodies and smart arrangements, to memorable hooks and intelligent lyrics, all merged to create an infectious sound. It has an overall feel quite similar to that of Daft Punk’s classic album ‘Discovery’ in the sense that it produces amazingly catchy classic dance songs.

Underpinning these great songs is a shift in the lyrical content. By disregarding their witty lyrics and embracing a broader emotional range they have created classic dance love songs. They are far more open now in talking about love and relationships and do so without ever sounding sentimental. Add to that the amazing vocals of Taylor and the sublime harmonies contributed by Goddard and the result is one of heavenly bliss.

‘One Life Stand’ starts off upbeat in both mood and tempo and remains that way virtually all the way to the end. The opening three tracks; ‘Thieves in the Night’, ‘Hand me Down My Love’, and ‘I Feel Better’ are instant classics. The latter of which was apparently inspired by watching Susan Boyle sing! (Inspiration truly can come from the strangest of places). The majority of the songs start off relatively sparse but gradually build into catchy and euphoric choruses. There are some slower numbers here such as the brilliant ‘Brothers’, the bizarre ‘Slush’ (demonstrating they haven’t totally ditched their experimental edge) and ‘Keep Quiet’. However, it is the fast beat sounds, in particular the title track ‘One Life Stand’ and ‘Alley Cats’ which stand out and show the pure genius of this band.

Hot Chip have created an amazing album, and certainly the first great album of 2010 that I have heard so far. By focusing on what they do best, pure electro-pop and by not being afraid to tackle the theme of love they have hit jackpot.

Sunday, 28 February 2010

BRIT Winners 2010

British male solo artist: Winner: Dizzee Rascal
British female solo artist: Lily Allen
British breakthrough act: JLS
British group: Kasabian
British album: Florence & the Machine - Lungs
British single: JLS, Beat Again
BRITs performance of 30 years: Spice Girls - Wannabe/Who Do You Think You Are (1997)
International male solo artist: Jay-Z
International female solo artist: Lady GaGa
International breakthrough act: Lady GaGa
International album: Lady GaGa The Fame
BRITs album of 30 Years: Oasis - (What's the Story) Morning Glory?
British producer: Paul Epworth
Critics Choice: Ellie Goulding
Outstanding contribution to music: Robbie Williams

Tuesday, 23 February 2010

Chinese New Year 2010 (Feb 13th - 21st)





Chinese New Year In A Nutshell...

Friday: Finished work at 4:30 and went to see the latest Jim Carey movie, ‘I Love You Phillip Morris’. It was actually much better than anticipated. In the evening we went to G Star with Eddie and Richard.

Saturday: New Years Eve. Went to 101 to get lunch then headed to George’s brothers house in YongHe for dinner.

Sunday: Met with Shannon and saw the latest Disney installment ‘The Princess and the Frog’. After we went to the Thai restaurant in Neo19 which was great, fantastic Mojitos too. Then we headed back home for some drinking to be joined by Matt and Adam and Jack as well.

Monday: Train to Kaoshiung in the afternoon and met with Angelina and George’s mum. We headed to Love River to take a walk. The weather was quite pleasant, perfect for walking. After some coffee we headed back to rest.

Tuesday: Started off the day with the worst breakfast ever then started a long day of shopping at the mall and Ikea. Then a train back to ChiaYi.

Wednesday: Breakfast followed by a big hot pot for lunch which was nice as the weather was freezing. Headed home to watch ‘The Reader’ and ‘Casablanca’

Thursday: Went out to buy a DVD player and look around town. Went back home to watch ‘The Exorcist’ and a Chinese movie.

Friday: Back to Taipei after lunch, had to wait two hours for the HSR.

Saturday: Went to Chilis with Shannon and then to the White House and onto the Watershed for more drinking.

Sunday: Slept in till 5pm, had lunch at the diner and then home to prepare for work!

Monday, 15 February 2010

Sade: 'Soldier of Love'



She’s reclusive, releases albums about once a decade, never gives interviews, and has been around for 26 years with next to nothing known about her. Yet, she has had success and influenced artists on both sides of the Atlantic; and her image, voice, and sound are as unmistakable as they are timeless. Not only this, but she has sold in excess of 50 million albums worldwide. She is silky, she is smooth, she is Helen Folasade Adu, better known simply as Sade.

Whether you see her as the forefront of soul which set the standard for the 1980s and 1990s or dreary late night background music, she’s back with intent. I say ‘she’, but that should really be ‘they’ as Sade refers to a collective rather than just the lead singer. Since their debut, ‘Diamond Life’, 26 years ago, Sade have had countless hits which have hit the airwaves and never left. Just as Woody Allen has always gone done better in the UK than he has in his native country, the reverse is true of Sade. Their success is even more remarkable given that they have only released six albums in that time frame. It is this exercise of quality control which gives them an air of sophistication. Added to this is the fact that Sade never tries to be cool or follow trends resulting in their music aging rather well.

It’s been 10 years since their last release, ‘Lovers Rock’ and it was interesting to see which direction they would take. Should they stick faithfully to their tried and tested sound and risk being labeled as unoriginal and repetitive? Or should they change their sound and alienate their large fan base? The result is ‘Soldier of Love’ and it adheres to the sound which made them successful. Like a lot of good single genre bands, they have homed in on their sound; fine tuned and perfected it and consequently become masters of their craft. They are true followers of the theory that If it’s not broken why fix it! It’s full of soul, slow beats, and an overarching mournfulness totally dominates this album.

As usual, they demonstrate restraint both musically and vocally which gives the impression that they are lazy in their approach. Yet listening to the voice it is clear to see she is full of emotion and melancholy, it is just delivered with effortlessness. The themes are also similar; that of love. On a number of tracks she seems heartbroken to the point of being totally wounded.

The album commences with two stunning tracks; ‘The Moon and the Sky’ and ‘Soldier of Love’. The first is built around sustained strings and a fantastic guitar hook. The title track is far different to anything Sade has released before. Set to military drumming ‘Solider of Love’ is moody and aggressive. Depicting love as a battlefield I would certainly not want to cross this soldier in a dark alley. These two are as good as anything Sade has ever produced. If the whole album was this good it would have to go down as a classic. Not to say things go downhill from here, but the standard Sade sound sets in. Many of the songs would not feel out of place on any of the six previous albums. There are some slight diversions; an odd reggae number ‘Babyfather’ which appears out of place both in tone and lyrics on this love torn album. There are also ventures into country with ‘Be That Easy’. Some of the songs are stripped bare instrumentally and let Sade’s voice tower above the tracks such as ‘The Safest Place’, ‘Morning Bird’, and ‘Long Hard Road’, the latter of which being the best of this bunch.

In conclusion, unless they radically changed their sound it is hard to see how Sade could have gone wrong. They stuck to the sound which made them successful in the first place. This release will certainly not win over any new fans but neither will it disappoint loyal fans who hang on her every word. ‘Solider of Love’ will certainly not win any album of the year awards but I, for one, am pleased they are back.

Tuesday, 9 February 2010

Charlotte Gainsbourg: 'IRM'



After watching Charlottes Gainsbourg’s performance in the disturbing Lars von Trier’s movie, ‘Antichrist’, I had mixed feelings about approaching the third album from this part time actress, part time singer. However, being the daughter of modern French pop (Serge Gainsbourg) endured me to this release.

‘IRM’ was written in response to her life-threatening waterskiing accident in 2007 and subsequent brain hemorrhage and MRI scans. Therefore death is the backdrop to this album. It embraces the physical and the spiritual in equal measures. It could have been a depressing album yet it is not; she almost shrugs off the near death experience and clearly doesn’t invite self pity. She is deeply reflective yet questioningly optimistic; it’s unsettling yet uplifting.

It’s obvious from the outset that Beck is the producer of this album. His sound is all over this release and this is a good thing. Not only is he producer but also composer, co-writer, and virtuoso of the vast majority of instruments. Therefore this could well have been just a chance for Beck to exert his sound through a muse. This would also fit as Beck is no stranger to writing songs about death. However, the results are rather pleasing. Charlotte is certainly no puppet of Beck here. She is firmly in control and directing us through a whole range of styles. Similarly, she demonstrates versatility and depth and makes good use of her rather limited vocals from whispery pillow talk to robotic monotones.

Musically, it ranges from the instrumentally sparse to the point of a cappella such as ‘Vanities’ and ‘In the End’; to grand and complex arrangements such as ‘GMT’ and ‘Looking Glass Blues’. Overall it starts of simply and becomes more complex and explorative as the album progresses. The album starts off with ‘Master’s Hands’ which sets heavy bass against minimal guitar and vocals drenched in reverb. We then progress to the psychedelic rock track ‘Trick Pony’. One fantastic treat is ‘Le Chat Du CafĂ© Des Artistes’ which is certainly in the style of her father. ‘Heaven Can Wait’ is a fantastic duet with Beck along to vamping pianos and a 1960s pop feel. Another two standout tracks are ‘Dandelion’ which takes a standard 12 bar blues riff and makes it into something quite sophisticated, and the straightforward pop number ‘Time Of The Assassins’.

A special mention should also be made to the percussion which is often complex and mixes elements of African rhythms. This, no doubt, adds to the psychedelic tracks on the latter half of the album and is a trump card which Beck plays.

Charlotte will inevitably always be compared to her father and it’s unfair to do so, albeit inevitable. There is no doubt that Charlotte Gainsbourg is a talented actress as well as musician who has crafted a fantastic piece of adult pop. This could well be a highlight of the year.

Monday, 8 February 2010

Last weekend flew by. Mostly due to the fact that Saturday was a working day due to the upcoming Chinese New Year. By working Saturday we get the Friday of next week off too so in all it's a nine day affair this year, I can't wait!

On Saturday we headed to Ximen after work to watch the new Taiwanese movie Monga. It was pretty good from what I could make out, although no English subtitles so I will certainly have to watch it again to get the most out of it. After that we headed home and just relaxed.

On Sunday we got lunch and relaxed at home with a movie before heading to Ximen to meet George's dad as it is his 73rd birthday. We went to a newly opened Cantonese restaurant which was pretty good.

This week George is in JiaYi to spend time with family prior to Chinese New Year and as for me it's a nice easy week as there are no Elementary classes going out this week. Therefore it gives me time to relax and sort things out. Nice!

Thursday, 4 February 2010

Massive Attack: 'Heligoland'



The anticipation surrounding the expected release of the progenitors of trip-hop, Massive Attack, has finally come to an end. After a seven year hiatus, they have returned with their new studio album, ‘Heligoland’. Since their creation in 1988, they went on to produce three masterpieces in the 1990s; ‘Blue Lines’, ‘Protection’, and ‘Mezzanine’ and rightly earned the title as the forefathers of trip-hop.

However, as with all success this could not last forever. In the 2000s, Massive Attack only managed to release one studio album, ‘100th Window’, to largely muted reception. Therefore, a lot was riding on this release. Not only did they have to prove they were still relevant; they had to compete with a similar band from their genre, Portishead, who like Massive Attack, made a comeback after a long break to critical acclaim. On top of that, they have to deliver something as astonishing as their early output.

Before even listening to the album things look promising. The usual plethora of guest vocalists looks exciting and well-chosen. The guest line-up includes Daman Albarn, Guy Gurney, from Elbow, and Tunde Adebimpe, from TV on the Radio. They should help to make this album very ‘now’ which is exactly what a band whose creative peak was twenty years ago need.

In regards to the sound, there are no surprises; a minimalist approach with deep rhythmic drums, and subtle, simmering undercurrents mixing organic with synthesized sounds. Although it has the ambient suspense expected, it cannot be purely classified as chill-out which tends to leave it confined to no man’s land. This in itself is not a problem but there is certainly no sense of urgency in the sound; in fact it remains so relaxed it becomes lethargic. Also, there are no stand-out tracks such as ‘Unfinished Sympathy’ or ‘Protection’. Possibly the worst part is the inclusion of two tracks with vocals provided by Martina Topley-Bird; ‘Psyche’ and ‘Babel’. If including a vocalist who has been confined to obscurity was not enough, her failure to produce anything of any substance throughout her career should have given a hint of what was to come. In saying that, ‘Splitting the Atom’ wins the title of worst track on this album, it’s just plain awful.

However, the entire album is not a letdown; there are some good parts worthy of praise. There are certainly flourishes of the Massive Attack of old and the genius which they possess. These include the fantastic ‘Paradise Circus’ which is similar to the equally amazing ‘Protection’ from the album of the same name. Other highlights include ‘Flat of the Blade’ and ‘Saturday Come Slow’. ‘Rush Minute’ and ‘Pray for Rain’ are also perfectly listenable songs.

In conclusion, this album would have to have been nothing short of extraordinary to have been rated highly. They are victims of their own success. It simply doesn’t compare to their first three releases and it’s not even as good as Portishead’s ‘Third’. This once-in-a-generation band appears to have reached the end of their creative streak. However, the flashes of genius contained within reveal a glimmer of hope that they could yet still return to form and deliver another great album. That is as long as we don’t have to wait another seven years for one.

Wednesday, 3 February 2010

History of Deadly Earthqaukes

12 January 2010
Tens of thousands die in and around the Haitian capital Port-au-Prince, as a 7.0 magnitude earthquake strikes the city.
6 April 2009
An earthquake hits the historic Italian city of L'Aquila, killing about 300 people.
29 October 2008
Up to 300 people are killed in the Pakistani province of Balochistan after an earthquake of 6.4 magnitude struck 70km (45 miles) north of Quetta.
12 May 2008:
Up to 87,000 people are killed or missing and as many as 370,000 injured by an earthquake in just one county in China's south-western Sichuan province.
The tremor, measuring 7.8, struck 92km (57 miles) from the provincial capital Chengdu during the early afternoon.
15 August 2007:
At least 519 people are killed in Peru's coastal province of Ica, as a 7.90-magnitude undersea earthquake strikes about 145km (90 miles) south-east of the capital, Lima.
17 July 2006:
A 7.7 magnitude undersea earthquake triggers a tsunami that strikes a 200km (125-mile) stretch of the southern coast of Java, killing more than 650 people on the Indonesian island.
27 May 2006:
More than 5,700 people die when a magnitude 6.2 quake hits the Indonesian island of Java, devastating the city of Yogyakarta and surrounding areas.
1 April 2006:
Seventy people are killed and some 1,200 injured when an earthquake measuring 6.0 strikes a remote region of western Iran.
8 October 2005:
An earthquake measuring 7.6 strikes northern Pakistan and the disputed Kashmir region, killing more than 73,000 people and leaving millions homeless.
28 March 2005:
About 1,300 people are killed in an 8.7 magnitude quake off the coast of the Indonesian island of Nias, west of Sumatra.
22 February 2005:
Hundreds die in a 6.4 magnitude quake centred in a remote area near Zarand in Iran's Kerman province.
26 December 2004:
Hundreds of thousands are killed across Asia when an earthquake measuring 9.2 triggers sea surges that spread across the region.
24 February 2004:
At least 500 people die in an earthquake which strikes towns on Morocco's Mediterranean coast.
26 December 2003:
More than 26,000 people are killed when an earthquake destroys the historic city of Bam in southern Iran.
21 May 2003:
Algeria suffers its worst earthquake in more than two decades. More than 2,000 people die and more than 8,000 are injured in a quake felt across the sea in Spain.
1 May 2003:
More than 160 people are killed, including 83 children in a collapsed dormitory, in south-eastern Turkey.
24 February 2003:
More than 260 people die and almost 10,000 homes are destroyed in Xinjiang region, in western China.
31 October 2002:
Italy is traumatised by the loss of an entire class of children, killed in the southern village of San Giuliano di Puglia when their school building collapses on them.
26 January 2001:
An earthquake measuring magnitude 7.9 devastates much of Gujarat state in north-western India, killing nearly 20,000 people and making more than a million homeless. Bhuj and Ahmedabad are among the towns worst hit.
12 November 1999:
Around 400 people die when an earthquake measuring 7.2 on the Richter scale strikes Ducze, in north-west Turkey.
21 September 1999:
Taiwan is hit by a quake measuring 7.6 that kills nearly 2,500 people and causes damage to every town on the island.
17 August 1999:
An magnitude 7.4 earthquake rocks the Turkish cities of Izmit and Istanbul, leaving more than 17,000 dead and many more injured.
30 May 1998:
Northern Afghanistan is hit by a major earthquake, killing 4,000 people.
May 1997:
More than 1,600 killed in Birjand, eastern Iran, in an earthquake of magnitude 7.1.
27 May 1995:
The far eastern island of Sakhalin is hit by a massive earthquake, measuring 7.5, which claims the lives of 1,989 Russians.
17 January 1995:
The Hyogo quake hits the city of Kobe in Japan, killing 6,430 people.
30 September 1993:
About 10,000 villagers are killed in western and southern India.
21 June 1990:
Around 40,000 people die in a tremor in the northern Iranian province of Gilan.
7 December 1988:
An earthquake measuring 6.9 on the Richter scale devastates north-west Armenia, killing 25,000 people.
19 September 1985:
Mexico City is shaken by a huge earthquake which razes buildings and kills 10,000 people.
28 July 1976:
The Chinese city of Tangshan is reduced to rubble in a quake that claims at least 250,000 lives.
23 December 1972:
Up to 10,000 people are killed in the Nicaraguan capital Managua by an earthquake that measures 6.5 on the Richter scale. The devastation caused by the earthquake was blamed on badly built high-rise buildings that easily collapsed.
31 May 1970:
An earthquake high in the Peruvian Andes triggers a landslide burying the town of Yungay and killing 66,000 people.
26 July 1963:
An earthquake measuring 6.9 on the Richter scale strikes the Macedonian capital of Skopje killing 1,000 and leaving 100,000 homeless.
22 May 1960:
The world's strongest recorded earthquake devastates Chile, with a reading of 9.5 on the Richter scale. A tsunami 30ft (10m) high eliminates entire villages in Chile and kills 61 hundreds of miles away in Hawaii.
1 September 1923:
The Great Kanto earthquake, with its epicentre just outside Tokyo, claims the lives of 142,800 people in the Japanese capital.
18 April 1906:
San Francisco is hit by a series of violent shocks which last up to a minute. Between 700 and 3,000 people die either from collapsing buildings or in the subsequent fire.

BRIT Nominations 2010

British Female Solo Artist: Nominees: Bat for Lashes, Florence & the Machine, Leona Lewis, Lily Allen, Pixie Lott

British Male Solo Artist: Nominees: Calvin Harris, Dizzee Rascal, Mika, Paolo Nutini, Robbie Williams

British Breakthrough Act: Nominees: Florence & the Machine, Friendly Fires, JLS, La Roux, Pixie Lott

British Group: Nominees: Doves, Friendly Fires, JLS, Kasabian, Muse

MasterCard British Album: Nominees: Dizzee Rascal - Tongue n'Cheek, Florence & the Machine - Lungs, Kasabian - West Ryder Pauper Lunatic Asylum, Lily Allen - It's Not Me, It's You, Paolo Nutini - Sunny Side Up

British Single: Nominees: Alesha Dixon - Breathe Slow, Alexandra Burke Ft Flo Rida - Bad Boys, Cheryl Cole - Fight For This Love, Joe McElderry - The Climb, JLS - Beat Again, La Roux - In For The Kill, Lily Allen - The Fear, Pixie Lott - Mama Do, Taio Cruz - Break Your Heart, Tinchy Stryder Ft N-Dubz - Number 1

Critics' Choice: Nominees: Ellie Goulding, Delphic, Marina and the Diamonds

BRITs Album of 30 Years: Nominees: Coldplay - A Rush of Blood to the Head, Dido - No Angel, Dire Straits - Brothers in Arms, Duffy - Rockferry, Keane - Hopes & Fears, Oasis - (What's the Story) Morning Glory?, Phil Collins - No Jacket Required, Sade - Diamond Life, The Verve - Urban Hymns, Travis - The Man Who

International Female Solo Artist: Nominees: Lady Gaga, Ladyhawke, Norah Jones, Rihanna, Shakira

International Male Solo Artist: Nominees: Bruce Springsteen, Eminem, Jay-Z, Michael Bublé, Seasick Steve

International Album: Nominees: Animal Collective - Merriweather Post Pavilion, Black Eyed Peas - The End, Empire of the Sun - Walking on a Dream, Jay-Z - The Blueprint 3, Lady Gaga - The Fame

International Breakthrough Act: Nominees: Animal Collective, Daniel Merriweather, Empire of the Sun, Lady Gaga, Taylor Swift