David Emery Online
Vicennial
Two decades ago today, I walked into an unassuming converted collection of terrace houses, somewhere in Wandsworth, South London, and began working in the music industry. It was purely by chance that I ended up there, really. Growing up, I had always wanted to work in music, but I never really knew how, or even where to start. I had no connections, no understanding of the industry beyond a vague notion of what a record label was, and certainly no resources to work as an unpaid intern — the “traditional” route in.
I did, though, have a knack for computers — a genetic trait, seemingly, as I ended up doing roughly the same computer science degree as both my parents and brother. That degree took me to working as a graduate at a Mac software developer — an ideal job, perfectly suited to my at-the-time quite specific skill set, in a field that wasn’t exactly awash with roles.
I got made redundant after six months.
In hindsight, it was the most fortunate thing that could have happened, but it sure didn’t feel like it at the time. It led me to bouncing around doing various freelance things, which turned out wasn’t all that...
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Frame of preference
Turns out, the Mac settings have lived a far more fascinating life than I imagined, have been redesigned many times, and can tell us a lot about the early history and the troubled upbringing of this interesting machine.
Join me on a journey through the first twenty years of Mac’s control panels.
This would be a wonderful trip down memory lane just by itself — and I say this as someone who remembers well everything from about 1991 onwards, which is far too long a go to consider.
But! You realise after a moment that the computer screens throughout aren’t static images, they’re fully working emulators of the damn Macs. The whole thing, Finder, ancient versions of iTunes, Control Strip — history in a bottle, through the narrative of system settings.
Sometimes I struggle a little with everything that the internet has become, but then every once in a while something like this comes along, a piece of art that could only be born on the web, like a pearl in a river of sludge. It’s not all bad.
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What Was That by Lorde
It would be unfair to say — like many others already have — that ‘What Was That’, the new single by Lorde from her upcoming fourth album ‘Virgin’, is a return to form. That would perpetuate the prevalent narrative that 2021’s ‘Solar Power’ was a dud. The internet has decided so, therefore it is so.
Which is tiresome, isn’t it?
Not only am I a ‘Solar Power’ apologist (both record and power source), but it speaks to the exhausting nature of online music criticism. Which has, for the most part, shifted from the professional to the amateur, with a million comment sections, every social post allowing for a snipe, gripe, and reinforcement of the aggregate cultural opinion. ‘Solar Power’ is a good record, a subtle record, that for me fits a slightly different space than a lot of Lorde’s other work. I suspect that, in a decade or so’s time, it will get a reevaluation once there’s a better perspective on her breadth of catalogue.
None of this is to say that ‘What Was That’ isn’t a banger, though, because it is. But interestingly, it still carries through some of the previous records’ lightness of touch, like how the chorus never quite lives up to the build-up, replacing the drop you think you might be getting with a squelchy synth line. Subtlety doesn’t often carry well in the ‘discourse’, but for me Lorde is wielding it on this track with great power (no pun intended).
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Twenty
This blog turned twenty years old last week, and I have a couple of things to say about that. I had planned to post on the day, but instead I took my children to an aeroplane museum on the west coast of France — we were already in France, just to be clear, we didn’t hop on an EasyJet just to scamper round a hanger of French military paraphernalia. Anyway, there are several things that 22-year-old me would have found surprising about that excuse.
Twenty years is a long time. The second post on this blog was that Adobe was buying Macromedia, which was a big deal at the time and now a distant footnote. The fourth was about the launch of Google Maps in the UK. This blog predates YouTube by about a week. A couple of months after I started blogging, I inadvertently live blogged the 7/7 London terror attacks.
When I started this blog, I was a freelance web designer mostly writing about tech and music. This blog helped me get a job at a record label, which, well, has led to a lot. A lot of those early posts were about Apple, and now that’s...
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Spike Island by Pulp
A long time ago I had lunch in a pub with Jarvis Cocker. Working in music has given the odd opportunity for such escapades, others which include “having a pint with Pet Shop Boys” and “hanging out at 5am in a hotel bar with Adele” — more on those another time.
I think he had a glass of red wine and the steak and chips, if I recall correctly, and his company was just as entertainingly articulate as you would hope and expect. It was around the time of his second solo record “Further Complications”, which was a very good record but shares an unfortunate truth with all such spinoff projects from the singer of a popular band: it was not a record from the aforementioned popular band, but something else not quite as good.
That record came out in 2009, which was not even half way between when the last Pulp record was released — 2001’s “We Love Life” — and when we now know the next Pulp record will, in modern parlance, drop, which is this year.
If this first single is anything to go by, it may share a kinship with Blur’s latest from 2023, which is to say that it sounds very clearly like the band you know and love, but weathered slightly with the passage of time — a patina of experience adding something new to something old.
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Shadows by Goddess & Ex:Re
I have two playlists that I update regularly and listen to almost every day. The first — #20 — is my favourite twenty songs right now, no more no less, and roughly corresponds to the tracks I post on here. If it makes it to #20, it makes it to the blog.
The other — imaginatively titled “New Music” — is a seventy seven hour long dumping ground of any new music that comes out that I might want to listen to. Every week I trawl through the new releases — songs and albums — and if there’s anything interesting I’ll add it to the playlist. Then I’ll listen to all of it on shuffle. Every once in a while I’ll sweep through and clean out anything that I’ve been skipping too much.
The one and only album by Ex:Re — the solo moniker for Elena from Daughter — has been in my New Music playlist, in full, ever since it came out in 2018. It’s a no skips record. But, being a solo project, and Daughter still very much being a going concern, it always felt like a one off.
And yet, here we are in 2025 with a new Ex:Re track. Well, sort of. This track is from a project called “Goddess”, which is created and curated by ex Savages drummer Fay Milton, and it brings some of that Savages energy to the depth of Elena’s vocal, and it all works exceptionally well.
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How to tell when your art is bad
Good (print) art has to pass these three tests;
The across the room test.
The 2-meters away test.
The up-close test.
If the art is interesting and engaging at all three distances then it has potential to be good art.
I love this, in the most part because trying to apply objective rules to judge “art” is inherently amusing, but also because it’s not, you know, wrong.
Via Russell Davies
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