#michael hann

[sunshineandlyrics]

Louis always proving them wrong!

*article was from 30 April 2022 reviewing LTWT London at Wembley Arena

[kulturado]

The Story: Neil Young: Homegrown review – his great lost album, finally unearthed

The Writer: Michael Hann

(photo: John Logan)

[slaybook]

Morrissey: what we learned about him from List of the Lost

Morrissey’s first novel is out and … well, it’s not very good. But the classic Moz tropes are present and correct

Michael Hann vs. Morrissey

[callinginthedeadofnight]

[...] rock’n’roll was invented for teenagers, and to dismiss a group because teenagers like them seems to be particularly crabby and middle-aged. And to dismiss them because it is, especially, teenage girls who like them seems like nothing so much as sexism: are the opinions of teenage girls actually worth less than those of other people?

Michael Hann (The Guardian)

[andwerehome]

And to dismiss them because it is, especially, teenage girls who like them seems like nothing so much as sexism: are the opinions of teenage girls actually worth less than those of other people?

 Michael Hann on teenage girls and their like of popular music

[soundfriend]

Michael Aniser Founder at Noisekölln, and Noisekölln Tapes, Radio Host, Journalist, DJ, Professional Partier, Berlin @vcs  

Rejections - “One Machine”

Michael Hann's new release as Rejections is a fantastically eerie and constricting drone, perfect for a saturday night in the gutter in some old coal mining town. Shapes shift and haunt the interlaced pathways throughout the release. There is no hope, there is nothing to hold on to. Occasionally some high-pitched screeches sound from far away to remind us, that we are probably not all alone in this mouldering factory building, that there is something hidden in the shadows, but we just can't figure out if it's there to help or destroy us.

[thehammerismyvagina]

Fun Friday: Britpop: Why Michael Hann from The Guardian doesn't quite understand it.

Fun Friday: Britpop: Why Michael Hann from The Guardian doesn’t quite understand it.

Fay Kesby:

My friends rather eloquent rebuttle to a guardian article trashing Britpop…

Originally posted on Me in Stitches:

Alternative Title: Come and ‘ave a go if u think ur ‘ard enuff.

Fay Kesby, wordpresser, poet and all round amazing person linked me this article: Britpop: A cultural abomination that set music back.

Wow. Now that is a statement.

One that I’m going to argue against…

View On WordPress

[lifeisasongworthsinging]

Clips of Michael Hann's interview with Matt Healy of the 1975 that I found particularly interesting. Read the full story here.

Until late last year he was still living at home. Then, as he puts it, "my band took off, my family fell apart. My parents got divorced. It's kinda good – no good marriage ever ended in divorce. If two people had a really good thing going on and they had to get divorced, that would be really sad. But that's never happened once. That's fine. That was a long time coming. December of last year I went on tour and they sold that house. I went home for two days to move out of my house, and I wrote and recorded Is There Somebody Who Can Watch Me?, the last song on the album, about that moment. So I left and I've not really been home since. But I've fucking embraced it, man. Because you take the good with the bad. I don't have a home, but I have a thousand people come and see me, whatever city I'm in. If you can't feel at home there, where can you feel at home?

~~~~~~~~~~

"I feel like there's a genuine hole in me. The little death, almost. I need stimulation. I used to need physical stimulation constantly, whether that be from listening to the sound of my own voice, or flirting with guys or girls. I'm not bisexual, but that moment when you realise someone likes you – it's the best feeling in the world. If you could bottle it …"

He drifts off for a moment. And then he asks that question. "Do you like me?"