In Simon Reynolds' splendidly comprehensive discussion of pop culture's obsession with its own backstory Retromania, he states that "every generation as it ages will want to see its musical youth mythologised and memorialised." Looking at the eras currently being eagerly painted with the nostalgia brush, one decides Reynolds can only be right.
With the assistance of my publication of choice, Melody Maker, my eyes were opened to an increasingly large list of often ridiculously-named bands. The movement's zenith for me will always be the early 1990s; but time (i.e. the press) has not been kind to the memory of the indie music from this period.
Returning to Britain, I joined another band and hey presto, two of the members were Swedish. Perplexingly we never got round to playing a gig in their home country, but we did manage to all go to a wedding in Stockholm which is the first and only time I've ever seen a wedding cake being thrown across a dancefloor. It ended up, quite literally, in the best man's face.
Plans for Fink's production rehearsals are plunged into a skipful of turds by one of those professional rehearsal spaces turning round at the eleventh hour and calmly announcing that they don't allow use of a smoke machine. Panic! Fink's entire live show is based around a smoke machine. I'm personally lost if I can actually see the rest of my band through lack of fog.
He recoils with a faintly amused expression on his face, shrugs, then glances around for an appropriate piece of hardware with which to impale me. He seizes a nearby spare mic stand, and so begins a Tom and Jerry style chase around the backstage area, me leaping over flight cases and knocking guitars to the floor in my efforts to escape... My tour bus dreams are getting stranger.
Last night saw the announcement of the nominees for this year's AIM Independent Music Awards, and as I watched our presenters reveal the labels and artists that feature in this year's nominees list, I felt great pride that I get to work with the people responsible for some of the best music in the world.
Since starting to work on the AIM Independent Music Awards a couple of years ago, it hasn't escaped my attention that every time a list of music award nominees is published, a large-scale debate and healthy amount of criticism and cynicism inevitably follows. I suspect this is because of the subjective nature of music; the concept of judging it is arguably flawed.