Nabble - CLINICVOOT

Re: THIS FORUM IS NOW INACTIVE!!!!!

2009-02-13T21:18:42Z

not in our hearts!!!

LONG LIVE FORUM!!!!!

(this reminds me - i haven't checked the site in a while or listened to the monthly news updates)

THIS FORUM IS NOW INACTIVE!!!!!

2008-04-30T01:00:46Z

THIS FORUM IS NOW INACTIVE- Please goto the new one at www.clinicvoot.org.

See ya there

Re: sunprobe

2008-04-30T00:53:29Z

SUNPROBE

I agree brilliant band, are they friends of Clinic?

no straglers?

2008-04-08T20:25:55Z

i figured there'd be at least one person wondering where everyone was!
haha.

i'm sad - Do It! was not in any stores around me. i'll have to order it online it looks like.

The Witch Review

2008-03-14T10:31:06Z

http://comfortcomes.com/?page=reviews&id=2209

Re: Do It review

2008-03-14T10:06:22Z

i'm really surprised at just how good the b-sides and singles i've heard are so far.
i'm really excited for this one.

Re: Do It review

2008-03-12T22:35:50Z

Gluehead wrote:

If you are even a small fan of Clinic, you are going to looooove "Do It!".

That's the best review I can do.

Like Radams, I'll reserve detailed comments until the album is released, but I have to agree with Gluehead here. 'Do It!' is the best thing they have ever done, which is saying something...

Re: Do It review

2008-03-12T00:27:07Z

If you are even a small fan of Clinic, you are going to looooove "Do It!".

That's the best review I can do.

Re: Do It review

2008-03-10T13:22:44Z

do it! is going to be a surprise package. As with Visitations we'll see our masked friends take their clinical sound and move us to a new level, leaving us begging for more voodoo, surf, freestyle craziness. How do I know? I just do and I'm excited.

I have something else to share and I've been living with the guilt for some months. Last summer I had to stop at a level crossing to let some pedestrians cross the road. In horror I noticed one of the persons taking the liberty of using non polluting transport was the guitarist from the Kooks. Many thoughts crossed my mind - mainly the darkest type - but it was all over before I could correctly weigh up the options. I only mention this because I've just heard (through my screaming) their new single and I feel responsible. I'm sorry people.

Clinic please come to FLORIDA

2008-03-10T08:37:20Z

I am absolutely addicted to Clinic, having discovered them about 5-6 months ago... here's to hope you guys take a vacation down here (and put on a show )

Re: WATCH THE WITCH VIDEO

2008-03-10T03:55:16Z

great, absolutely great!

j.

WATCH THE WITCH VIDEO

2008-03-07T14:21:35Z

Check out the video here:

The Witch (Made To Measure) low quality or

The Witch (Made To Measure) high quality

They think it's all over for the NME

2008-03-07T13:14:12Z

I personally hope so....I hate this freakin' rag!!!

With the demise of any real rock underground, plus fierce competition from online rivals, the magazine must adapt or die

Last week's biggest-ever New Musical Express awards show at London's O2 Arena should have been a triumph for Britain's longest-serving rock weekly. It was, says the Editor, Conor McNicholas, “one of the greatest nights on my life” watching Klaxons, Bloc Party, Kaiser Chiefs and Manic Street Preachers play to 15,000 indie/rock fans.

But there were glum faces and dark mutterings among the assembled media insiders. One key reason for this gloom was the magazine's circulation figures for the second half of 2007. Averaging around 64,000 per issue, they are the lowest ever, and a steep decline on previous years.

Given NME's growing profile online, on TV, at festivals and branded tours, these figures seem a strange and bitter pill. Some industry commentators are even speculating that the print version could close within months. “Who reads the NME then?” Ricky Wilson of the Kaiser Chiefs singer asked pointedly.

In recent years the annual NME awards have generated lurid headlines for the rowdy antics of Primal Scream, Pete Doherty and Kate Moss. Last week's O2 bash was relatively tame by comparison.

Many present even likened the ceremony to the back-slapping sales conference that is the Brits, although a few lairy revellers sportingly rose to the occasion. In classic NME style there was a scuffle between the writer Alex Miller and the manager of the Young Knives over a negative review. Meanwhile those rock'n'roll Bash Street Kids, Arctic Monkeys, let off a stink bomb before being escorted from the venue when one of their entourage lit up a cigarette. Phew! Punk rock meets corporate hospitality.
“The O2 is a corporate venue if what you mean by corporate is that the toilets aren't overflowing, there are plenty of bars, the sound is great and everyone can see the bands,” protests the former NME Editor Steve Sutherland, who now oversees the magazine's evolution as editorial director of IPC Ignite.

To former writers such as myself, bad news about the state of NME still strikes a strangely personal nerve. Like a lapsed Catholic or former Marxist revolutionary, you can never quite leave the magazine behind, however abusive the relationship may have been.

As it celebrates its 56th birthday today, NME is now a national institution whose reputation for arrogance and aggro far outstrips its relatively benign tone in 2008. Even so, it continues to punch above its weight in profile terms thanks to its hugely successful website, annual Cool List and other headline-grabbing ventures.

Crucially, NME will remain a powerful player as long as record labels and emerging artists view it as an essential stepping stone to radio play and tabloid coverage - which most still do. “People care about the NME awards,” one manager says. “They might despise the paper but they go because they think it's important. It's still relevant.”

Since the invention of youth culture in the 1960s, each generation of British teenagers has grown up feeling that they owned NME and the bands inside. It is a fairly intense and obsessive relationship that tends to end with a messy split over musical differences around the age of 25. Former readers then become like embittered ex-spouses, forever recalling a rose-tinted Golden Age of rock journalism.

“Generations of them, all moaning about how NME stopped being good at the exact moment they stopped buying it,” complains Steven Wells, one of the magazine's star writers in the 1980s and early 1990s. “It must really suck to be an NME writer these days with this bloated Greek chorus of balding middle-aged naysayers on your back.”

Of course, the multimedia “brand platform” that constitutes today's NME is far removed from the inky, prickly, wordy weekly that my generation grew up loving and loathing in the 1980s. The monochrome weekly magazine of my youth was mouthy, pretentious, political and packed with occult knowledge. It was like a deviant careers advisor, the hip young gunslingers of London calling to faraway towns. NME gave me my first and only real job.

An enduring image problem for NME nowadays is how, even 30 years on, it is still judged against its late-1970s heyday. Written with a passion that was often wrongheaded and self-indulgent but occasionally brilliant, it became an unrivalled beacon of outsider attitude and spiky writing. In an era before the proliferation of music media, sales topped 250,000. Writers including Nick Kent, Julie Burchill, Tony Parsons and Paul Morley made their names on its pages.

Even much later, during my relatively calm time on the magazine, NME had its fair share of massive egos, internal feuds and office drug dealers. But Pat Long, a former NME assistant editor who recently left to become content manager for Orange's Entertainment Channels, says it is unfair to measure today's magazine against its mythic past.

“There's a lot of emotional baggage around NME,” Long says “which means when they stage things like the awards at the O2 everyone always complains about how corporate it is and how much better it was in the 1970s when everyone took sulphate in their tea.”

Even Morrissey, a longtime sparring partner who is now suing NME for defamation after a spat over what he said about immigration last year, praised the paper's illustrious past in a withering response to his interview. In terms more akin to a spurned lover than a scorned singer, Morrissey argued that the old NME was “a propelling force that answered to no one”, whereas now it was “very much integrated into the industry”.

Playing out in blogs and post-interview aftershocks, the latest rift in NME's love-hate relationship with Morrissey has been an insight into modern rock journalism. The singer claims in his blog that the interview was premeditated revenge for his refusal to headline the O2 awards show. The interviewer, Tim Jonze, then said that he removed his credit when the magazine's editors actually softened his tone.

It's a revealing exchange that appears to suggest NME is now writing features by committee. Not so, Sutherland insists. “Don't be daft,” he says. “The NME write something by committee? That lot create conflicting manifestos over who should be making the tea!”

The current NME weekly is, admittedly, a much calmer chameleon than during its punky, druggy peak. Packed with soundbites, gossip and promotional branding, it can read like a trainer-bra version of Heat magazine. But a residual fondness remains. Hearing reports of falling sales is like hearing that a cruel but brilliant uncle has been taken ill.

And yet, according to its publishers IPC, the veteran music rag is in rude health. Last week's awards show earned their biggest TV audience so far on Channel 4. Next month, NME launches an American awards show and tour, with a radio channel due by the summer. Even with falling sales, IPC claims that the magazine remains “the heart of the brand” and still its most profitable element.

Of course, bashing NME has been a national sport since even before I first worked there, almost 20 years ago. Routinely attacked for its editorial arrogance and narrow musical agenda, it remains a high-profile target, but rumours of its death are invariably exaggerated.

The key difference nowadays is context. With the demise of any real rock “underground”, plus fierce competition from online rivals and the FaceTubeMyBook boom, the magazine must adapt or die.

To many of its former readers - and writers - NME has sold out its “soul” and “edge” to corporate partners, such as the beer and hair-grooming companies that now sponsor its tours and awards ceremonies. But Sutherland dismisses accusations that the paper is too cosy with the mainstream music industry.

“It's a perennial contradiction in the alternative-minded music fan that, while we want our heroes championed, we also want to own them,” he says. “In the words of Mr Morrissey, we hate it when our friends become successful.”

Sutherland insists that NME has simply become successful alongside the artists it once championed. “NME is not a marginal player. We are a fundamental part of the process of how music works in the UK and, increasingly, across the world.”

But commercial success does not equal cultural relevance, argues Steven Wells. For him, NME's fatal error was sacrificing the “rebellious, politicised, energised, anything-is-possiblism” of the post-punk era to become “the house organ for indie, defined as unchallenging guitar music made by white suburban males”. The result, Wells claims, was “cultural incest. A zoo animal eating its own dung is amusing for a while, but it gets tedious.”

Barney Hoskyns is another 1980s NME veteran, who now runs the online music journalism library, Rock's Back Pages. He is less critical of the magazine's current direction, claiming it had little choice but to become just another “consumer lifestyle” publication.

“Rock is no longer counter-cultural, it's in the bloodstream of the new status quo,” Hoskyns argues. “Coverage of rock is ubiquitous, therefore it no longer requires its own media ghettos. Rock writers have dumbed down, or at least played down, their own quirks and idiosyncrasies to accommodate the above.”

The author and broadcaster Andrew Collins, a former deputy editor of NME, believes that the magazine is a victim of its own success. Once lone cheerleaders of the rock revolution, NME now competes with countless clone publications. “Unfortunately, NME doesn't really have a unique sales proposition any more,” Collins says. “Many of the indie artists it has hitched its wagon to have become public property, whether it's Arctic Monkeys or the Killers or Kate Nash or the Klaxons or even Pete Doherty.”

IPC has responded to NME's poor circulation figures by announcing yet another revamp. But perhaps it is simply wrong to interpret poor sales as a crisis in this post-print age. Even if its weekly cousin loses readers, the magazine's online presence continues to expand, recently surpassing the monthly benchmark of two million "unique users". Pat Long insists that NME deserves credit as a pioneer of blogs, online news and web videos.

“The future will see more focus on that content being sold to third parties with the magazine used more as a focus to hold the different brand platforms together,” Long predicts. “The problem is it's difficult to talk about things like brand platforms without imagining Nick Kent somewhere, sobbing.”

Sean Adams, the founder of the rival online music site Drowned In Sound, concedes that the NME website is moving in the right direction by concentrating on “agenda-setting news pieces”. He envisages the print version becoming an in-depth “director's commentary” digest, while its TV and web cousins cover new bands and newsy soundbites.

“I can't see it staying weekly or in its current form,” Adams says. “A bit like Top of the Pops, I don't think anyone in our world would ever have imagined a day it would be over, but ironically I actually think a magazine-style TV show aimed at both older readers and placating a new generation could be where NME may end up.”

In an instant-access online music climate, says Collins, NME could arguably dispense with its “paper souvenir” version altogether. “You could be an NME fan and just click on the website and go to the concerts and watch the TV channel without ever flicking through the magazine itself.”

But Sutherland dismisses speculation about closing the weekly magazine, at least for now. “Am I married to print on paper?” he asks. “Would I weep buckets if, in 20 years, NME was talking on a minute-by-minute basis with millions of music fans all over the world but the magazine had passed on? Personally, no. Do I believe that will happen? No again.”

Put simply: the NME is dead, long live the NME. For now.

The NME: a chequered history

1952 The Musical Express and Accordion Weekly is relaunched as the New Musical Express. It is Britain's first paper to include a singles chart.

1963 The televised Poll Winners Awards are launched. Moving with the times, the paper champions the Beatles and the Stones. Sales reach 200,000 a week during the latter part of the decade.

1972 Taking its cue from writers such as Lester Bangs, a revamped paper is saved from closure. With an influx of “underground” stars such as Nick Kent and Charles Shaar Murray, it ditches its “trade” associations. Weekly sales rocket to 300,000.

1976 As punk rages, an advert for “hip young gunslingers” brings in Julie Burchill and Tony Parsons.

1978 The future editor of The Face, Neil Spencer, takes over. The paper takes on a political voice.

1985 Competition from Melody Maker and Smash Hits and in-fighting mean another nadir.

1990 Acid House, Madchester and then Britpop see fortunes revived. Sales peak at 120,000 a week.

2004 Conor McNicholas becomes the Editor. The paper is relaunched as a glossy magazine. 2007 All time sales low of around 30,000 when the punk band Gallows appear on the cover.

2008 NME hosts its largest awards gig at the 02 Arena.I freakin hope so I hate this rag!!!!!!

Re: the witch single details

2008-03-07T12:17:29Z

Check out the video here:

The Witch (Made To Measure) low quality or

The Witch (Made To Measure) high quality

Re: Do It review

2008-03-07T10:13:17Z

be my girl wrote:

From what i have herd im really liking the new clinic album

The song thats got me going has to be

SHOPING BAG The song is banging!!!! let's dance!!!!!

i'll reserve most of my thoughts until the release date...but i can say that there are parts of this album that will blow your mind. this album might be a really big deal.

Re: Do It review

2008-03-07T09:29:11Z

From what i have herd im really liking the new clinic album

The song thats got me going has to be

SHOPING BAG The song is banging!!!! let's dance!!!!!

Re: Do It review

2008-03-05T19:40:10Z

how exactly did this leak over 2 weeks ago without me knowing?

certain page 63's of a certain thread in a certain radiohead forum have left me very tempted

Re: Do It review

2008-03-05T16:48:52Z

yeah, this site gave my PC a virus I think

Re: Do It review

2008-03-05T16:25:45Z

is it me or is that site a little shady? you could buy the whole album today even though it's a month from release?

i registered (grudgingly) to see if the samples were real - and they were. i only listened to the track preview and even though i'm now foaming at the mouth because of it, this site creeps me out. i'll wait.

Re: Do It review

2008-03-05T16:15:47Z

very cool review. i can't wait to hear it. i have no idea what to expect.

Do It review

2008-03-05T12:01:54Z

Clinic makes a grand step forward

Liverpool indie rock band Clinic consists of vocalist Ade Blackburn playing keyboard and melodica, bassist, flutist and vocalist Brian Campbell, guitarist and keyboardist Jonathan Hartley who plays also clarinet and drummer and pianist Carl Turney providing also backing vocals. In general the collective exists a little bit more than ten years now, but during the time it has attracted a faithful fan base. Nevertheless, most of the critics agree that Clinic's sounding still remains too raw to get into the mainstream tendencies but regardless of anything the collective went on struggling for the place under the sun. It has not passed much time since the guys finished working on their fifth album that got called Do It! It is very likely that the record's name speaks for itself for the work has proved to be like a push causing the band to make a grand step forward. Stylistically the songs are mostly on the indie territory but some present the experimental mixtures of style, and these points make the most successful points of Do It! which rightfully pretends to be among the year's best indie records.

Calmer reflective creations on Do It!

Before Clinic's typical music were eclectic songs with a fast rhythm, and now the band has decided to turn to calmer reflective creations freely making them sound either with a positive or with a negative mood. The album opens with a hard heart-rending composition Memories with guitar riffs that deserve respect. Song Tomorrow with a country spirit but far from being joyful is filled with pessimistic feelings although its lyrics are not devoid of irony whereas The Witch is a classic example of Clinic's performance with an impetuous rhythm and lazy singing. Single Free Not Free is one of the best compositions on the record built around a tough contrast between a pop couplet and a heavy and powerful guitar accompaniment. Amazing cords on Shopping Bag in combination with reckless drums, a squealing melodica and corresponding vocals create an effect of a complete insanity. The sounds of organ on a gloomy, even a scary track Corpus Christi bring in the feeling of unreality of what is going on, while High Coin is an example of a great work of a drummer, guitarist and vocalist comprising a harmonious ensemble. Track Mary And Eddie can be called a combination of what cannot be combined for here such styles as country and gothic are interlaced which results into the most interesting and impressive song on the entire record, and to conclude the album there is song Coda refined with splendid guitars and ending with the sounds of bells that have proved to be the authors' great idea.

Even the most unexpected combinations reveal a sense

It is interesting to know that Clinic are famous for its fondness to wear doctors' costumes and surgical masks for live performances, thus justifying the band's name, which also permits them to feel freer when writing songs and performing the music. Album Do It! is certainly extraordinary, too, but this time even the most unexpected combinations reveal a sense. As a result we have a record demonstrating a new approach to music. Although some moments remind of Radiohead’s works, but they are very few on the album for it looks like Clinic has found its true sounding. The musicians have finally given themselves full swing recording eleven tracks each of which has something to boast: drums, guitars, vocals parties and most varied melodies, all that makes Do It! one of Clinic’s best albums, and it is quite probable that critics will become more favorable to the band after it. Hopefully these changes for the better are to continue, and its next creation will be even more successful, and the collective will remain that independent at the same time.

Alexandra Zachernovskaya

03.03.2008

(Please be careful this site gave my PC a Virus)

Re: the witch single details

2008-02-29T14:27:53Z

good stuff. the witch sounds just as you'd expect

and man, these b-sides are unreal. i like this deranged circus music song very much.

the witch single details

2008-02-28T13:20:21Z

http://www.dominorecordco.com/site/?page=releases&releaseID=780

the clips on the main page sound great.
these b-sides sound really good so this is really setting my standards high.

Clinic to FINLAND

2008-02-20T06:29:01Z

It is the ultimate command that Clinic must come and play a gig in Finland while the next tour, preferably as soon as possible. It is terribly unfair how we Finns hardly get to see the band... though I'm now in ENgland I may not be in April! SO do arrange some gig soon for the sake of my mental health!
It's only right if I'll finally get to see the band live... maybe even tomorrow!
Ta

Re: Guitar?

2008-02-20T03:54:59Z

thanks a lot, hmmmm, seems to be very expensive!!
are there somewhere other semiacoustic guitars with all six screws on the top of the guitarhead??

j.

Re: Guitar?

2008-02-20T03:38:20Z

http://www.vintageguitars.org.uk/fendercoronado.php

Guitar?

2008-02-20T03:05:52Z

Does anyone know which guitar hartley is using!
i mean the orange one which he plays mostly!

j.

Re: Second Line game

2008-02-19T05:36:36Z

but how do i get the golden pearl? sometimes its only a shadow!

j.

Second Line game

2008-02-18T13:29:53Z

Ive just stumbled across this. The second line game its great fun, give it a go when your bored at work. (edit: sorry if this has been mentioned before)

The Second Line Game

Re: Tusk on Video & Album

2008-02-17T23:33:03Z

Thank you so very much for this!
This mix of "Tusk" is georgeous!!

j.

Re: FREE NOT FREE AVAILABLE NOW

2008-02-17T10:50:51Z

I like this song a lot! - it sounds in similar vein to songs from Pure Morning's 2 inch helium buddha lp - was this intentional?

edit: i was alerted to the clinicvoot website by the unjustifiably luke warm review of free not free in the observer music monthly magazine today (17.2.08) - but then again they gave mariah carey's latest 4 stars!

just dug out 2 inch helium buddha - it still sounds good. I bought it way back when Peel played Harrison on his show.

Re: The Bridge live?

2008-02-16T03:32:50Z

I think this was recorded at Cardiff's Clwb Ifobach on 4 March 2002 and subsequently broadcast on the John Peel wingding

Re: Tusk on Video & Album

2008-02-14T14:45:15Z

gotta love the Jigsaw man video

Re: Tusk on Video & Album

2008-02-14T12:29:32Z

Tusk & Jigsaw Man (also a different mix) were released as a free download on Clinicvoot prior to Visitations . Here are the songs and the artwork:

http://download.yousendit.com/314414997B89C6DC

Please, please Clinic come play in Sweden!!

2008-02-14T05:03:30Z

Hi I am a new but HUGE Clinic fan.

I am so glad they will release new songs and I would REALLY want to see them live!
There seems not to be any shows outside the UK in Europe.
I live in Sweden and it would really be great if they could come to Stockholm and play, because I can not afford to travel very far to see them. Perhaps Oslo in Norway. I´m sure there are many Clinic fans in Sweden that would also like to see them live