태그 보관물: Neil Tennant

닐테넌트(Neil Tennant)의 비평

Pet Shop Boys의 닐터넌트가 한때 음악평론가였다는 사실을 아시나요? 그가 썼던 비평 중 일부를 올립니다. 번역은 시간 되면 ….

C.O.D.: In The Bottle (Streetwave) The week’s most modern dance sound.
Juddering drums and electronics help on excellent song (by black
poet-musician Gil Scott-Heron) to find that perfect beat while on the
flip side Tyrone Brunson’s “The Smurf” is cleverly weaved in and out of
the mix. Mr Hip Hop himself, Man Parrish, had a hand in producing it
and, needless to say, Dave Rimmer’s had it on import for weeks.

WHAM!: Bad Boys (Innervision) George and Andrew’s first non-rap outing
is an exhilarating hymn to teenage rampage. Subject-wise it’s “Young
Guns” Part Two: the lads this time getting into trouble from their
parents for hanging round with all sorts of unsuitable people. While the
melody grabs the imagination and feet, the arrangement is disappointing
with exactly the same sound as their previous singles. Still, Bad Boys
stick together …it’ll be a hit in the gay clubs (and everywhere else
for that matter).

AZTEC CAMERA: Walk Out To Winter (Rough Trade)
One of the outstanding songs from the “High Land, Hard Rain” LP that’s
been re-recorded by Tony Mansfield. The acoustic feel of the original
has been replaced with a beefy, more conventional pop arrangement but
the wistful spirit survives. Aztec Camera have, in other words, made a
pop record and a jolly good one at that.

JOBOXERS: Just Got Lucky (RCA). The acceptable face of lad-ishness.
Although I’m definitely not a member of the Boxers’ Beat Club, I can’t
deny that this is one of the smartest, least self conscious pop records
on view this week. Pounding along with a brace of hooks, it’s got more
than a touch of the Elvis Costello’s to it. Got lucky? I just got happy.

SYLVESTER: Don’t Go (London) A magnificent, haughty disco record.
Sylvester shrieks with might and dignity over a galloping electronic
backing, transcending its ultradisco cliches with the emotional
conviction and urgency of his own performance.

CLASS ACTION: Weekend (Jive) Another New York disco record released
here. It’s one of those songs where the woman singer tells her man that,
as he’s a dead loss at giving her a good time, she’s gonna find someone
else who can. All of us listeners get a good time in the process, so
who can blame her.

YAZOO: Nobody’s Diary (Mute) A sad love-gone-sour song written by Alf.
Strong on emotion and weak on melody but the combination of ringing
synths and bluesy singing is still a winner.

MARY JANE GIRLS: Candy Man (Gordy) A bumpy, bleepy, zestful little
electronic tune, ideal for inspiring aerobics, which was written,
produced and arranged by Motown’s saucy superstar, Rick James. It’s nice
for a man to have a hobby, isn’t it?

RUPERT HINE: Living In Sin (A&M) Robert Palmer can be heard singing
on this and it sounds as though it could have been a contender for his
own new LP (On which Rupert Hine plays). It’s bumpy and boring,
reminiscent of one of those adverts for sunglasses you see on Channel 4.
Best heard in a wine bar or at a Sunday lunchtime drinks ‘do’ with a
crowd of young advertising executives in red-rimmed specs.

FANTASTIC SOMETHING:If She Doesn’t Smile (Cherry Red) Half of me thinks
this is a gem of acoustic pop, while the other half thinks I should pull
myself together for liking something so wet. Whichever, it has a
beautiful wistful melody, smoothly sung and harmonised while acoustic
guitars jangle in true summer-of-love style. I love it and I was never a
Simon And Garfunkel fan.

TOTO COELO: Milk From The Coconut (RadialChoice) Imagine The ‘Quails
trying to sound like Grace Jones. Impossible? Well, yes, they find it
impossible but make a brave attempt at it here. The bin liners are
definitely a thing of the past.

RONI GRIFFITH: Breaking My Heart (Vanguard )/THE FLIRTS: Passion (“0”)
The New York disco producer Bobby ‘0’ likes to describe himself as a
workaholic. These records, both written and produced by him, are two of
the symptoms. Ms Griffith’s is a little lacklustre: a ‘GUs style tune
floating over an array of clever clicking and planking percussion. The
Flirts’ however is a sturdy, steamy song hissed over a sawtoothed
synthesiser. Highly recommended.

THE COCONUTS: Did You Have To Love Me Like You Did? (EMI America) COATI MUNDI: Como Esta Usted?
(Virgin) Two acts from the Kid Creole circus. I’m sure I’d enjoy The
Coconuts single if could see them dancing to it. The song doesn’t really
stand up by itself even though it has all the hallmarks of an August
Darnell production. Coati Mundi produces himself to better effect and if
you want the latest slice of “Me No Pop I” salsa, here it is.

ELTON JOHN: I Guess That’s Why They Call It The Blues (Rocket) An
old-fashioned, predictable weepie which is I guess why they called in
Stevie Wonder to liven it up with his harmonica. I think Elton John
ought to buck up his ideas: this isn’t very inspired and I bet he knows

LANGUAGE: We’re Celebrating (Stiff) Smart-arse white funk with a pompous
vocal and a lot of corny wacka wacka guitar-playing. No reason for
cracking open a bottle of fizz.

XTC: Great Fire (Virgin)
Eccentricity haunts the first XTC single in a long while, Starting off
with a scratchy guitar and niggling alarm chime, a staunchly uplifting
English pop tune soon establishes itself. After that it’s uphill all the
way, via a
psychedelic string arrangement too crashing finale. Impressively unfashionable.

HAZAN: Dreamer Devane (EMI) Nazia and Zoheb are Very Famous Indeed in
India where this song was Number One for a staggering 13 months and
singlehandedly created a kind of Indian disco music which hadn’t existed
before. For UK release the song has been rather fussily rerecorded by
Sal Solo and, for the moment, Hazan seem to be more interesting as a
phenomenon than as potential chart contenders.

HOT CHOCOLATE: What Kinda Boy You’re Lookin’ For (Girl) (RAK) I don’t
reckon this is up to the standard of “It Started With A Kiss” although
it’s another of Errol Brown’s plucky love songs. Will it be yet another
Hot Chocolate hit? I suppose that depends on what kinda record you’re
lookin’ for.

BLUE ZOO: Forgive And Forget (Magnet) A tawdry mini-epic with Andy O
desperately bawling a lot of words over a shabby stab at grandeur. All
this and a free poster with every copy. A tragic waste of human

CAVA CAVA: Burning Boy (Regard) You don’t get a free poster with this
one, which is more or less all that distinguishes it from the Blue Zoo

THE PALE FOUNTAINS:Palm Of My Hand (Virgin) The Fountains are in feisty
form on their second Virgin release. A melancholy trumpet line leads
into a positively rugged song by the Pale And Wan Ones’ previous
standards, Very un-Burt Bacharach. It is, however, somewhat let down by
the thin and scratchy production for which Greg Walsh and ex-Associate
Alan Rankine are credited.

INDEEP: When Boys Talk (Sound Of New York) Honestly! Men are only
interested in one thing! That seems to be the complaint of Indeep’s two
girl singers and then Mike Clevland wades in with a throaty rap that
confirms all their worst fears. It’s all very reminiscent of “Last Night
A DJ . . .” but still sounds like Indeep might have talked their way
into the charts for a second stay.

Pet Shop Boys 일문일답

Q 매거진 2009년 4월호에 실린 짧은 인터뷰이다.




그들은, 당연하게도, 영국 팝계의 국보이며 그것을 증명해 줄 브릿 어워즈 또한 수상했다. 하지만 둘 중 어느 것도 바운티 반 조각에 대한 기대만큼 그들을 흥분시키진 못 할 것이다.




> Q가 벌이는 한판입니다. 뭐 먹고 있어요?


닐 테넌트: 필터 커피요.

크리스 로: 아무것도 안 먹고 있어요.


> 히트곡 제조기인 브라이언 히긴스가 이끌고 있는 걸즈 어라우드의 제작팀인 제노매니아와 함께 새 앨범, Yes를 막 마무리지은 것으로 알고 있는데요…


NT: 오 그렇습니다, 그는 히트곡을 매우 좋아해요.
CL: 뭐, 우리가 다 그렇죠.
NT: 그렇긴하지, 하지만 그는 정말 장난이 아니예요. 제노매니아에서 작업하는 동안 스매시 히츠 [82년부터 84년까지]에서 일하던 때가 떠올랐습니다. 건물에는 사람들이 가득 차있고 그들은 모두 음악에 빠져 있었거든요. 그리고 그들 모두 자신의 의견을 얘기했습니다. 정말 멋진 환경이었어요.
CL: 사람들은 우리의 점수를 매기곤 했습니다.


> 그들이 수정해야할 것을 지적해주던가요?


CL: 아뇨, 아뇨, 컴퓨터로 하더군요. 마치 아이튠즈처럼요, 거긴 별점매기는 기능이 있잖아요, 코멘트도 달리구요.
NT: “멋진데”…”형편없군”…
CL: 잔인하다구요! [소리치며] 멋집니다!
NT: 기분좋게 만들 때도 있어요: “브라이언이 당신의 브리지가 훌륭하다고 생각한답니다.”


> 크리스, 새 앨범에서는 노래하게 되었군요: “니가 누구라고 생각하는거야, 캡틴 브리튼?”


CL: 그래요, 그렇게 부르라고 시키더군요. 난 그 사람이 누군지도 몰라요.
NT: 그건 내가 쓴 겁니다. 난 마블 코믹스의 캡틴 브리튼의 런던 편집장이었거든요 [75년에서 77년까지. 그리고 테넌트는 그가 어떻게 그의 상관들에게 어째서 영국버전의 캡틴 아메리카는 아무 일도 하지 않는지를 물었고, 그리고 그들 중 아무도 그 사실에 관심을 갖지 않았다는 것을 얘기해주었다].


> 어쩄든, Very 앨범의 히든 트랙이었던 I Believe In Ecstasy 이후 처음 듣는 크리스의 목소리라서 좋았습니다.


NT: 앨범에는 수록하지 않은 곡이 있어요 – 보너스 디스크에서 수록된 곡이죠, 현대적인 방식으로요 – This Usde To Be The Future라는 곡입니다, 나와 크리스와 [휴먼 리그의] 필 오우키가 함께 불렀습니다. 그러니까 크리스가 그 곡을 부른 게 맞지요…
CL: 기술의 발전은 놀랍습니다. 덕분에 할 수 있게 된 걸 생각해보면 대단하죠.


> 영화 맘마 미아!를 보았습니까? 피어스 브로스넌의 “노래”는 대단했습니다.


CL: [상당히 불쾌해하며] 끔찍해요. 그건 그냥 마임이예요. 예전 같았으면 브로스넌은 립싱크를 해야했을 겁니다.

NT: 대체 왜 립싱크를 하지 않는 거죠? 요즘엔 왜 다들 자신이 노래할 줄 안다고 생각하는 겁니까? 그건 오만한 겁니다. [생각에 잠기며] 물론, 난 영화를 보지 않았습니다…


> 그건 일종의 동의를 구하는 – “누구나 할 수 있다”는 식의 배역선정 아닐까요?


NT: 흠, 난 동의할 수 없어요. 그건 아무나 할 수 있는 게 아닙니다.
CL: 이게 다 가라오케 때문이예요.
NT: 내가 마지막으로 가라오케에서 노래를 부른 건 뉴캐슬에서 [화가] 샘 타일러-우드의 전시회에 갔을 때 였죠. 뒤풀이 파티에 가라오케가 있었어요. [갤러리스트] 제이 조플링이 이러더군요, “West End Girls를 예약넣을 거니까 – 불러야돼요.” 그래서 내가 말했습니다, “난, 어떤 상황에서도, 그건 하지 않을 겁니다.” 하지만 모두들 졸라대서, 결국 불렀습니다, 그리고 트레이시 에민이 끼어들었죠. 물론 트레이시 에민이 끼어들고 난 뒤에는 상황이 우스꽝스러워지고 말았죠.


> 올해 브릿 어워즈에서 공로상을 수상했죠? 받지 않으려고 했습니까?


CL: 음, 수상을 전적으로 환영했던 건 아닙니다. 하지만 이건 좀 달라요. 팝의 중요성을 천명하는 일입니다. 아시다시피, 록이 모든 걸 다 이룬 건 아니잖아요.
NT: 우리가 받을 거라곤 생각 못 했습니다. EMI에서 우리에게 전화해서 말하기를, “그들이 상을 수여한다면, (a) 상을 받아들일 건가요? 그리고 (b) 시상식장에 갈 건가요?” 나는 그들이 아직도 우릴 그런 식으로 생각하고 있단 사실에 놀랐습니다! 1987년에 West End Girls로 최고의 싱글 상을 받을 때 크리스는 시상식장에 가지 않았거든요.


> 당신들은 광고를 찍지 않습니다, 하지만 이제 존 라이든은 버터 광고를 하고 있고요, 석스는 생선튀김 광고를 하고 이기 팝은 자동차 보험 광고를 하고 있습니다. 원칙을 가진 뮤지션들에게 무슨 일이 생긴 겁니까?


NT: 우리는 광고를 안 하기로 했어요. 그게 지금까지 이어지는 겁니다.
CL: 아이팟 광고는 정말 하고 싶었어요. 그 광고 덕분에 Viva La Vida를 들었거든요…
NT: 크리스가 이런 문자를 보냈어요, “콜드플레이가 엄청 좋은 레코드를 만들었어!” “이상한 소리 하지마!” 제노매니아에서 음반 작업을 할 때, 우린 바운티 초콜릿 하나를 반씩 나눠먹곤 했어요. 그들에겐 이게 정말 재밌었나봐요. 그래서 이런 생각을 하게 되었습니다 우리가 바운티 반쪽을 들고서 “바운티: 반쪽씩”이라고 말하는 광고를 찍는 건 어떨까 하는.


> 오래된 스매시 히츠 질문을 받아본 적이 있습니까? [80년대 팝 스타들을 당혹케 했던 불손하기 짝이없는 질문]


NT: 아니오! 크리스가 어제 투덜거리더라구요, “이제 더이상 우리에게 좋은 질문을 하지 않아…”
CL: 좋은 질문을 받았던 적이 있어요, 정말 좋은 질문이었죠. 우리가 받은 유일한 좋은 질문 – 미안해요! – 좋은 질문은 이런 거였어요, “당신이 가장 좋아하는 아이폰 응용프로그램은 무엇입니까?


> 그럼 스매시 히츠 질문을 하나 하겠습니다: 당신이 도시의 중심부라고 생각한 적이 있습니까?


NT: 아뇨, 그런 생각은 해본 적 없어요. 하지만 만약 내가 도시의 중심부라면 난 아마도… 난 베를린일 겁니다. 여기저기서 재건축이 이루어지고; 노후된 곳도 많구요…하하!
CL: 엄…[당황하며] 내가 도시의 중심부라구요? 정말 이상한 질문이군요.
NT: [설명하며] 내가 스매시 히츠를 그만둔 뒤에 그리 되었죠, 스매시 히츠는 상당히 초현실적으로 변모했습니다. 방종을 부리기 시작한 거죠. 아마도요.


> 좋습니다 그럼, 가장 좋아하는 아이폰 응용프로그램은 뭔가요?


CL: 내가 너무너무너무 좋아하는 건 체크 플리즈라는 건데요. 그건 몇명의 사람들이 밥을 먹고 있는지 등을 보여주는 일종의 퍼센티지 정보예요. 그리고 이 프로그램은 사람들이 각기 얼마의 돈을 내야하는지도 알려주기도 해요…


> 그리고 30분 후에는…


CL: 아뇨, 그건 그냥 일시적인 거예요. 물론, 계산기로도 같은 걸 할 수 있을 겁니다. 하지만 그러려면 기본적 수학 지식이 있어야합니다.



They are, but of course, British pop’s national treasure and now have the Brit to prove it. None of which is as exciting to either of them as the prospect of half a Bounty.


> It’s Q’s round. What are you having?

Neil Tennant: A filter coffee.
Chris Lowe: Nothing, thanks.

> You’ve just completed your new album, Yes, with Xenomania, Girl’s Aloud’s production team, led by hit-maker Brian Higgins…

NT: Oh yes, he loves hit records.
CL: Well, we all do.
NT: Yes, but he really takes the biscuit. Working at Xenomania reminded me of working at Smash Hits [’82-’84] cos you’ve got this house full of people and they’re all totally into music. And they all have comments to make. A truly great atmosphere.
CL: And you get marked as well!

> With a red pen?

CL: No, no, on the computer. Like on iTunes, where you have a staring, and you get comments.
NT: “Brilliant”…”Rubbish”…
CL: It’s ruthless! [Hooting] It’s fantastic!
NT: You get quite chuffed: “Brian thinks my bridge is brilliant.”

> Chris, you get a spoken line on the new album: “Who do you think you are, Captain Britain?”

CL: Yeah, I was tlod to say that. I’d never heard of him.
NT: It was scripted by me cos I was the London editor of Captain Britain at Marvel Comics [’75-’77. Tennant explains at length how he told his superiors why a British version of Captain America would never work, but they didn’t listen].

> Well, it’s nice to hear your voice for the first time since I Believe In Ecstasy, the hidden track on 1993’s album Very.

NT: There’s a song not on the album – on the bonus disc, in the modern way – called This Used To Be The Future, sung by me, Chris and [The Human League’s] Phil Oakey. So Chris actually sings on it…
CL: Through the wonders of technology. It’s amazing what you can do now.

> Have you seen the Mamma Mia! film? Pierce Brosnan’s “singing” is quite remarkable.

CL: [Quite cross] Dreadful. It’s just panto. In the old days Brosnan would have mimed to a singer.
NT: Why didn’t he do that? Why does everyone think they can sing these days? There’s such an arrogance about it. [Thinks] Of course, I haven’t seen the film…

> Isn’t that part of the appeal – the “anyone can do it” casting?

NT: Well, I object to that. Anyone can’t do it.
CL: It’s karaoke that’s to blame for this.
NT: The last time I did karaoke we went to [artist] Sam Tyler-Wood’s exhibition in Newcastle and they had karaoke at the party afterwards. [Gallerist] Jay Jopling said, “We’re going to put West End Girls on – you’ve got to sing.” I said, “I am not, under any circumstances, going to do that.” Everyone insisted, so I went and did it, and then Tracey Emin jumped in. So, of course, it turned into a joke with Tracey Emin.

> You picked up the Outstanding Contribution Award at this year’s Brits. Were you tempted not to accept?

CL: Well, we don’t really approve of awards. But this one is a little bit different. It acknowledges the important of pop in the world. You know, it’s not all rock.
NT: I didn’t think we’d get it. EMI phoned and said, “If they give you this award, (a will you accept it? And (b) will you turn up?” I was impressed that was how they still thought of us! When we got the award for West End Girls in 1987 for Best Single, Chris didn’t turn up.

> You don’t “do” ads, but now John Lydon is advertising butter, Suggs is doing fish fingers and Iggy Pop’s selling car insurance. What happened to musicians with principles?

NT: Oh, well we’ve given up on all that. That’s the way it is now.
CL: We’d love to be in an iPod advert. That’s how I got to hear Viva La Vida…
NT: Chris text me and said, “Coldplay have made a really good record!” “Don’t be ridiculous!” At Xenomania, after we’d done some work, we liked to have a piece of chocolate, a plain chocolate Bounty. And we’d have half each. They thought this was completely hilarious. So we were thinking we could do an advert where we open up the Bounty, have half and say, “Bounty: half each”.

> Has anyone ever asked you the old Smash Hits questions? [Notoriously irreverent enquiries that perplexed ’80s pop stars]

NT: No! Chris was complaining yesterday, “We don’t get asked any good questions any more…”
CL: We did get asked one, and it was great. The only good question – sorry! – a good question that we got asked was, “What’s your favourite iPhone application?”

> Here’s a Smash Hits one, then: Have you ever thought you were a city centre?

NT: No, I haven’t thought I was a city centre. But if I was a city centre I would probably be… I’d be Berlin. A lot of rebuilding; a lot of decay…Ha ha!
CL: Erm…[baffled] If I was a city centre? That’s a very odd question.
NT: [Explaining] It was the period after I left Smash Hits, when they got slightly surreal. To the point of self-indulgence. Possibly.

> Alright then, what’s your favourite iPhone application?

CL: The one that really thrills me is Check Please. It works out how many people are dining, the percentage tip, and it tells you to the penny how much each person needs to put in…

> And an half-an-hour later…

CL: No, it’s instant. Yes, a calculator could do the same thing, but you need some basic mathematical skills to be able to do that.