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Popular News
| Bjork |
Rating: 0.00 (0 votes)
Bjork is hard to pin down and trace. Pointing to her pre-solo incarnations as a jazz singer, a Crass Records punk and an international indie-pop star with the Sugarcubes only shows a fraction of her depth. Since her Debut, in 1993, she has created a symbiosis between academic music and pop, her hands holding a score by Karlheinz Stockhausen while her feet dance to the faceless sounds of rave culture. Masterfully, her music never flies out into obscurity or stoops to obviousness. Working with innovative producers and remixers, such as Nellee Hooper, Howie B., Mark Bell, Matmos and, most recently, Timbaland, she has been able to consistently change strategies, keeping her sound contemporary, gently nudging at the edges of the mainstream. While she takes these adventurous turns through her career, her versatile voice is unmistakable. She displays wide emotional range from the contained rage of "Army of Me" to the explosive joy of "It's Oh So Quiet" to the ethereal bliss of "All Is Full of Love." While her music is always challenging, her fine art and screen side-projects are equally thought-provoking. For the Palme D'Or-winning Lars Von Trier film Dancer In the Dark, she won a Best Actress award for her leading role at Cannes in 2000. She would later collaborate with long-time boyfriend and fine art star Matthew Barney on the eerie and indulgent film Drawing Restraint 9.
- Marc Kate |
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| Jody Scheckter: From Formula One to life in the slow lane |
Rating: 0.00 (0 votes) 
 Being told to "belt up" barely 10 minutes into an interview would normally bode badly but Jody Scheckter means well enough. The one-time enfant terrible of motor racing knows better than most what happens when he steps on the gas and he is not taking any chances. It's hardly Monza, but I swear the needle hits 60 as the grass blurs outside my window. Related StoriesFirst person: 'I lost a £3m winning lottery ticket'How We Met: Lea Anderson & Sandy PowellPhil Brown: I want to give myself a chance to manage EnglandMore Mr Nice Guy: Why everyone loves Russell Tovey  |
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| IoS investigation: Our patronising approach to 10 million disabled Britons |
Rating: 0.00 (0 votes)
 Discrimination against disabled people is rife in the UK, according to new research. At worst, disabled people are subjected to abuse and violence. At best, even the most well-intentioned people can ignore or patronise them.  Related StoriesFresh legal big to force inquset into Kelly's deathFresh legal big to force inquest into Kelly's deathFresh legal bid to force inquest into Kelly's death |
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| The Prodigy |
Rating: 0.00 (0 votes)
The Prodigy always understood the need for visceral energy in dance music. What made them unique at the time of their debut in 1991 was the fusing of punk sounds and mores with the emergent acid house beats of the dancefloor. This glowstick-with-a-safety-pin-through-it attitude was made manifest by front man Keith Flint, a snarling manic Johnny Rotten for the club crowd, but the true soul of the group was techno boffin Liam Howlett. Liam was a local Essex DJ at a time when one could say the word rave without fear of scorn or imprisonment. He had seen the effect of a big track on the right crowd and was keen to try his hand at some original compositions. Keith Flint and Leeroy Thornhill had heard Liam spin and pestered him for mix tapes and examples of his songs. Before long they were working together, taking their name from Liam's Moog synthesizer. Their debut was "What Evil Lurks" (1991) but it was the second effort "Charly" (1991) that made the big impact, going to No. 3 in the UK charts. "Fire" (1991) also made the Top-20, after which they released their debut long player The Prodigy Experience (1992), which sold over 1 million copies in the UK alone. By now word was out about their live performances -- an intense combination of Tubeway Army style keyboard-lurking (Liam) and full-on mental moshing (Keith and Leeroy). Clearly Underworld's Karl Hyde must have been paying attention -- it was now possible for an electronic dance act to be exciting live, instead of just po-faced avant-garde. Music For A Jilted Generation (1995) was next -- a hard techno banger of an album that made no concessions to the loved-up house massive. However, it was the release of "Firestarter" from their third opus The Fat Of The Land (1997) that really put them on the mass media map. Fearful that the track and its provocative video were inciting arson, the inevitable tabloid frenzy ensured The Prodigy were a household name by the end of the year. "Breathe" (1995) was even bigger -- the beats so massive that it crossed genre boundaries to be popular with metal fans, rock heads and house fanatics across the country. The time was right to really push their luck, which they did with the release of "Smack My Bitch Up" (1997), a track almost specifically designed to simultaneously fill dance floors and appall the politically correct. It was a huge hit and they were at the top of their game. Time then for some time off, which ended up being seven years, before Always Outnumbered, Never Outgunned (2004) was released. This proved to be more of a solo effort from Liam. All three original members were back on board, though, for 2009's Invaders Must Die.
- Nicholas Baker |
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| Sia |
Rating: 0.00 (0 votes)
It was inevitable that Sia's unique vocal talent would find a significant audience outside her native Australia. In 2000 her debut album, Healing Is Difficult, was championed by critics -- the lead single, "Taken For Granted," even made the U.K. Top 10 -- but sales were relatively poor. The record did, however, bring Sia to the attention of London studio assistants Henry Bins and Sam Hardaker, who invited her to record vocals for two tracks on a CD they were making in their spare time. The resulting recordings -- "Destiny" and "In The Waiting Line," on Zero 7's world-conquering Simple Things (2001) -- are two of downtempo's high water marks. After touring with Zero 7 (a process she credits with broadening her musical horizons), Sia stepped back from the scene to regroup. Her back-to-basics LP, Colour the Small One (2006), features "Breathe Me," a song used to powerful effect in the closing scene of the finale of TV series Six Feet Under, as well as "The Bully," a song cowritten with Beck. Sia's next major release came in early 2008 with Some People Have Real Problems, followed by 2010's dance-pop turn, We Are Born.
- NEILWEST |
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| Massive Attack |
Rating: 0.00 (0 votes)
The roots of Massive Attack start in 1983 as the Wild Bunch, a DJ sound system and collective based in England's Bristol. They were known for their broad taste in music, blending reggae with classic R&B and even some punk grooves. Two of the Wild Bunch, Grant "Daddy G" Marshall and Andrew "Mushroom" Vowles split off to form Massive Attack with local graffiti artist Robert "3D" del Naja in 1987. A series of well-received singles followed, but the first Massive Attack album, Blue Lines, was a revelation. At the time of its release in 1992, downtempo electronica and house were the province of Soul To Soul (Keep On Movin') and their dangerously overused but catchy slack-hop beat. Massive Attack, true to their name, came out of nowhere and razed all before them. There was nothing else like it. Credit must be given to producer Nellee Hooper, in some respects the fourth man of the group, since he used his experience producing the first Soul To Soul album to take this new rhythmic style to a different level with the Massive Attack boys, effectively inventing trip-hop in the process. Dubby, soulful and funky, trip-hop became an essential sound for the downtempo cognoscenti. A mini musical revolution had begun, with the likes of Portishead, Beth Orton, the Sneaker Pimps and former Massive Attack member Tricky all starting successful creative careers in the trip-hop world. Sensitive to the cultural zeitgeist of the time in England, the boys briefly changed their name after their debut release to 'Massive' during the first Iraq war. This did not play well in America however, and their first tour here proved a failure. Three years later they came back with Protection, another essential purchase, featuring Everything But The Girl's Tracey Thorn on the stunning opening track. The entire album was then re-mixed by the Mad Professor and released as No Protection. Tracey Thorn's voice was hard to beat, but they managed it with their third release Mezzanine, recruiting the Cocteau Twins' inimitable Elizabeth Fraser, and turning "Teardrop" into the best single the Twins' never released. By the time Massive Attack released their fourth album 100th Window in 2003, it was effectively a solo debut for 3D, since Mushroom and Daddy G had left due to creative differences and family duties respectively. Their most recent work, Danny The Dog, takes them into soundtrack territory, leaving time for frequent remixing requests from anyone with an ear for an elegant and sexy beat.
- Nicholas Baker |
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| Depeche Mode |
Rating: 0.00 (0 votes)
Depeche Mode will forever be '80s icons thanks to their role in helping invent synth-pop as we know it. But unlike so many of their peers, they've remained both active and relevant. From their earliest days with Vince Clarke (before he left for Yaz, then Erasure), Depeche Mode took a spindly, synth-pop sound and filled it out with touches of techno, industrial, Americana and modern rock. Principal songwriter Martin Gore and his bandmates fuse classic pop songcraft with productions that keep pace with advances in music technology; lead singer Dave Gahan's dramatic delivery, meanwhile, has helped their songs of loss and redemption become pop-culture touchstones, covered by everyone from Tori Amos to Marilyn Manson. It's easy to chart the overall arc of the band's career, from its minimalist, electro-pop beginnings to the swelling pop yearning of Music for the Masses and on to the dark extravagance of albums like Violator and Exciter. But an abundance of alternate versions and remixes has produced a messy canon. For many fans, that's half the fun: Depeche Mode's B-sides make for a fascinating alternative history of these alt-rock heroes.
- Philip Sherburne |
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| More Mr Nice Guy: Why everyone loves Russell Tovey |
Rating: 0.00 (0 votes)
 Russell Tovey has gone topless, and 6,365 people have gone potty. That's how many followers the actor has amassed on Twitter in the 24 hours since creating an account on the social-network site. Being "ordained", as he puts it, by Stephen Fry, the high priest of 140-character ego-bulletins, helped ("Welcome, Russell Tovey, to Twitter," tweeted Fry). "Suddenly," he exclaims in his none-more-Essex accent, "it was whoosh, all these people following me. I was, like, bloody nora!" Related StoriesFirst person: 'I lost a £3m winning lottery ticket'How We Met: Lea Anderson & Sandy PowellPhil Brown: I want to give myself a chance to manage EnglandJody Scheckter: From Formula One to life in the slow lane |
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| Stay the night: Longevity Wellness Resort, Portugal |
Rating: 0.00 (0 votes)
 Everyone needs a spa these days. From the holiday cottage that engages the local woman with the collapsible massage table, to the five-star resort with over-water massage pavilion. But the Longevity Wellness Resort, now, this is serious stuff.  Related Stories24-Hour Room Service: Le Manoir aux Quat'Saisons, OxfordshireThe Big Six: Luxury Egyptian escapes |
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