Category Archives: London

➤ Was the Band With No Past truly wafted here from Paradise?

Paradise Point, pop group,

Paradise Point: Roman, Adam, Cameron and Johnnie

❚ THEY’RE BROODY, A TOUCH SULKY, they’re very fresh and very photogenic in black and white. Four songs online show they play their instruments with startling energy — bass, rhythm guitar, syndrums and synth. Their music is high-octane power pop on one track called The Only One. Furious upbeat emo on another called Tears. Whiffs of Duran Duran on Unbearable Without You. The singer does also happen to have a voice, bone structure, mad hands, attitude. Can’t be more than 18. There’s no evidence on their website of ever playing in public. This is the Band With No Past.

Where do bands like this come from, fully formed, straight from the egg? A whisper tells you they’ve already landed a deal, but that can’t be true. Google the name Paradise Point and all you find is a Palm-dotted beach in San Diego.

The Face, Neo Romantics, clubbing, London, Rosemary TurnerSomebody else tells you PP are Brits, playing their first date this month, live with, er, actual instruments. Hang on. These aren’t indie scruffs or thrash rockers. These kids are in their teens, unashamedly popsters, writing songs and making their own music like real pop groups used to before boy-bands — and before the Cowell X-culture robbed the pop charts of a generation of musicians. We have to reach way back into the heritage for groups who could play their own pop.

It turns out to be Steve Strange who’s showcasing Paradise Point at The Face, the bleeding-edge Neo-Romantic clubnight of the 20-tens, but hang on again, you wouldn’t call this band Romos, they don’t dress like Alejandro Gocast. Yet. OK, they sing of angsty love, like in two more tunes they’ve covered on video and posted today — live versions of Katy Perry’s Firework, and Rihanna’s Only Girl in the World, just to show they can big-time it. Straight to-camera demos, in one take, in fashionable black-and-white, understated and fearless and fizzing with energy. Don’t say Busted. Don’t say McFly. Really, there’s no need to wince.

Roman Kemp, Paradise Point

Strange, I’ve seen that face before ... the one on the right’s called Roman, and he somehow reminds me of her

So far, there’s no press coverage on the band. There’s no info, even of any kind, on Paradise Point’s MySpace page or at Facebook. Apart from four names in alpha order: Cameron Jones (vocals), Roman Kemp (bass), Adam Saunderson (guitar/synth), Johnnie Shinner (drums). So, Watson, what do you deduce? Kemp’s face, Holmes, looks familiar, seen it somewhere before. By jove, Watson, you’re right — some pretty high-powered friends on MySpace, as well, Lady Gaga top of the list. There’s a clue in their YouTube tags too: if you like the tags, you’ll probably like the Band With No Past. Better trek down to The Face Friday fortnight, see what they amount to…

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2010 ➤ Index of posts for October

Birth of electro-pop, synth-pop,Makers, Gentry, Spandau Ballet

Feb 1978: The Makers, one day to be Spandau Ballet. Photographed by Gill Davies

➢ Classics of 80s graffiti revived by campaigning collective in New York

➢ Final spin confirmed for the Technics 1200, the DJ’s top turntable

➢ On this day in 1980 Spandau fired the starting gun for British clubland’s pop hopefuls: dada didi daaa!

➢ A second squadron of high-octane British artists zaps the Saatchi space

➢ Facebook may well be the mother of all networks but one man needs to check his maths

➢ Cool 21st-century branding for Channel 4, but when will it junk those clunky Bladerunner idents?

➢ A step up in the world for graffitist Eine, thanks to Potus and lady friends who shop in high places

Molly Parkin, John Timbers

In her heyday: Molly aged 29 at her first art exhibition. Photographed © by John Timbers

➢ Miss Parkin regrets that she said no to Cary… and can’t wait to meet Orson, Lee and Walter

➢ How Keith Richards’s life of debauchery became an inexplicable sign of alien invasion at The Times

➢ 30 years ago today: First survey of their private worlds as the new young trigger a generation gap

➢ 2011: Sade comes home to tour UK but even a cheap seat will cost you £158 !

➢ 1980: The day Spandau signed on the line and changed the sound of British pop

➢ 1980: Rik and pals detonate a timebomb beneath another kind of strip for Soho

➢ 1976: When Iain met Stephen, London traffic stopped and St Martin’s stood still

➢ Britain’s top hatter, Stephen Jones OBE, celebrates 30 years of Jonesmanship

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On this day in 1980 ➤ Spandau fired the starting gun for British clubland’s pop hopefuls: dada didi daaa!

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Nov 13, 1980: chart entry qualifies Spandau for their first Top of the Pops

◼ TODAY’S THE DAY THE HOTTEST NEW BAND OF 1980 released their debut single 30 years ago. Inside a year, Spandau Ballet had clicked with clubland’s coolest fan base, played only eight bookings, refused to make any demo tapes but instead spent that year winding up the media and the music industry with word-of-mouth rumours of a youth movement right behind them.

Steve Norman

Kilt-wearing Steve Norman’s lace-ups

On October 10 Spandau signed an unprecedented deal with Chrysalis, on October 27 they released To Cut a Long Story Short driven by a monophonic synthesiser: Daa-didi dada dada di-di dada didi daaa! On November 15 the single entered the chart. Bingo – Top of the Pops.

In 1980, for every new band firing up their ambition in the wings, Spandau acted as a fuel injection system. For electro bands who had been nibbling at success  — OMD, Simple Minds, Japan, Ultravox — here was the bandwagon. And they jumped on board.

NOW TURN TO OUR INSIDE PAGE

➢ Full timeline of Spandau Ballet’s wind-up year from tease dates to Top of the Pops in 12 months!

HERE’S THE VIDEO FOR Spandau’s ORIGINAL, NOW IN HD…

➢ My full history of the birth of the New Romantics
in the Observer Music Monthly

➢ Elsewhere at Shapers of the 80s: 190+ acts who set the style for the new music of the 1980s

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➤ A second squadron of high-octane British artists zaps the Saatchi space

❚ TODAY’S NEW STARS OF BRITISH ART are quieter and more thoughtful than the YBAs in the Sensation survey of 1997 — this was the progressive critic Waldemar Januszczak’s verdict in June on Part 1 of the millionaire Charles Saatchi’s latest survey when it opened in London. “A rousing exhibition, Saatchi’s best for many a year,” he wrote. Part 2 of Newspeak, British Art Now, opens to the public today and it too proves to be another sprawl of hits and misses, yet the hits do unsettle and send a tingle through your aesthetic nerve. Shapersofthe80s has chosen a dozen of the more hyper-intense images for the gallery below.

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For the sake of balance, let’s give the caustic old traditionalist his turn. Even after he “walked sickened away” from the 1997 Sensation show, Brian Sewell has actually conceded that “Saatchi did more for British contemporary art and the economic blossoming that it engendered than all the Tates, the Arts and British Councils put together.” Yet faced with the 2010 selection, he pronounced Newspeak Part 1 to be “Oldspeak rather than new, and we have seen it all before… The Newspeak group are hardly new kids on the block, for all have substantial exhibition histories, many of them international, yet very few have reached further than the low levels of skill, aptitude and common sense demonstrated every year in exhibitions mounted by students in the benighted art schools up and down the land.”

He concluded: “Newspeak is at best cliché, kitsch and the ironic subversion that is the joke so often played by the post-postmodernist… One might reasonably conclude that British art is dead.”

Shapersofthe80s sides with Januszczak in finding more experiment and curiosity than indifference at Newspeak. Januszczak identifies the Saatchi touch thus:
“What Saatchi has always done, and what Tate Modern can never do, is back hunches with cash. The Tate doesn’t have any FU money. Its investments are our investments. Which is why it remains so chronically and conspicuously image-conscious. When it comes to rewriting agendas, the Tate is a scaredy-cat. Saatchi, on the other hand, is not.”

Of Newspeak, he concludes: “[The] clash of new and old, scientific and irrational, experiment and belief, is typical of the show’s prevailing mood.”

❏ Newspeak: British Art Now — Part 2 runs at the splendid new Saatchi Gallery in Chelsea, October 27-Jan 16, 2011
➢ “One might reasonably conclude that British art is dead” — Brian Sewell’s review of Part 1 in the Evening Standard, June 3, 2010
➢ “Britain still has talent” — Waldemar Januszczak’s review from the Sunday Times Culture, June 6, 2010

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➤ Cool 21st-century branding for Channel 4, but when will it junk those clunky Bladerunner idents?

C4,idents,rebranding,Rudd Studio, TV
❚ SENSATIONAL! Rudd Studio is behind this refreshing brand update for Channel 4 in the UK and builds on the splintering figure 4, the logo created by Martin Lambie-Nairn for the channel’s launch in 1982. The new look went live on October 22 with a series of channel stings for book-ending commercial breaks and trailing upcoming shows. Here’s Rudd’s own video compilation of the new split-screen animated graphics, with mood music by Oscar Gonzalez. Now all we can pray for is an end to those tiresome scenic station idents, contrived from barbaric housing estates and levitating supermarket trolleys.

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