I am, I must confess, a bit unclear about what exactly is meant by the very hip term blog house. I've a hunch that it refers to dance music whose success is driven by online theorists rather than exposure in clubs. But to be honest, I've a bit of a dilettante attitude to the dance scene these days: much as I try to keep up to speed with as much music as I can, I think I'm missing a lot of this stuff.
Forgive the constant references to domestic business at Uncut these past few days, but it's been hard to review much music when we've been in the throes of moving office. We're now firmly established in our luxurious new building just behind the Tate Modern, and have spent the morning trying to understand the new phones and get used to the decor: roughly MODE magazine, redesigned by IKEA, but a damn sight nicer than our old place.
It's a very risky manoeuvre to pull off successfully -- that is, graduating from TV to the movies, from the relatively parochial world of the Channel 4 sitcom to the bright and shiny universe of multiplexes, ancilliary revenue streams and premiers at Leicester Square.
OK I've just packed the stereo into a crate, so it's a bit hard to write a proper blog today. Uncut is moving to our palatial new home this afternoon, and I'll hopefully get back to proper blogging action next week.
Very quick post today, because the Uncut move has become rather pressing here . But a few things that you might be interested in. Firstly, the Spider-Man 3 soundtrack turned up this morning.
For some reason, I've been struggling to write about the new Dungen album for a few weeks now. They are, if you're in the dark, a pretty rampant Swedish psych band who had a fair bit of success with their "Ta Det Lugnt" album a couple of years ago.
General mayhem here today: Uncut is moving office on Friday, so we're trying to finish the next issue while battalions of removal men swarm around us, emptying our cupboards and leaving great piles of magazines in their wake.
The first time I saw Queens Of The Stone Age, if memory serves, they were playing London's Garage venue just after their debut was released. It's strange, then, that nearly a decade later, they're in front of me at an even smaller venue, the historically sticky 100 Club. In fact, Troy Van Leeuwen is directly in front of me, flicking nonchalantly at his pedals with white strappy shoes.
