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and heres the most accurate bit> "A band like Franz Ferdinand are very interesting," says Andy Ross, Blur's Food Records boss in the 1990s, "but a band influenced by Franz Ferdinand are obviously going to be less interesting, and diminishing returns set in until you reach a point where pop music is over."

Initially I always judge a band on what it sounds like. Pretty fundamental really. Anyone who judges a band on any thing else initially, is a sad victim of marketing. A marketing puppet. A sheep. A dumb fuck. After the music, then other factors maybe can help shape or influence your impression of a band, such as presentation, style attitute etc. But thats only icing the cake. A 25 year old Banshees record in theory should never been seen as progressive or contemporary. But it should be recognised for how progressive it was at the time. A million times more progresseive than all of the bands your name dropping, given they are only one step above a tribute act. They are all actually totally regressive in the sense that they are badly apeing an old style, not advancing it, but actually doing a safe watered down version for mass consumption. They have good business sense it a fact and will sell shit loads of product so long as the media backs the latest trend, but they simply have no original ideas. Theres plenty of new bands who still manage to cut their own groove, so these fucking monkeys are the worse kind of rip off imo. You missed out The Bravery. Ive never actually seen a worse live band. Also, the fact we are still talking about the Banshees now says it all. Who will give a fuck about Interpol in 2030??? i cant imagine some future thread in 25 years from now debating forgotten copy bands from 2005 that were top shop fashionable for 3 months

interesting debate but i think people are making it more complicated (and pretentious) than it really is i am a consumer pop music is a product i buy it if i like what it erm......sounds like (radical thinking!!!) it dosent matter if its a vinyl dance illegal remix bootleg thats not on release yet or a slice of re-issue Iggy from 1975 either way if I dig the sound and its got some element of unique or original going on it becomes 'essential' but if you buy into and follow the fashion conveyor belt theory you end up riding it (with all the other NME readers) and at the end of said conveyor is a bucket of stinking shit

Id stick with b) cos even the one track ''Love in a Void'' from the Peel sessions is probably one of the most defining sounds or recordings of that era - a single moment when punk actually took a rare leap forwards into something new listen to it and refuse to get goosebumps or start a spazz dance not possible

erm, other than creating the whole teenage fashion of black, more black and even more black, a look that has never ever gone away plus Siouxsie was a unique and provocative fashion icon of her time and is still recognised for that now (ok she had the help of Viv Westwood)....certainly more culturaly significant than Britney Spears or even Alison Goldfrappe. In a smaller way so was Pete Murphy albeit more a gay icon in a poor mans Bowie sense and that whole dark dischordant guitar sound? where the fuck do you think that came from? no cultural significance my ass

The filter pedal should but only in mono I think, almost identical controls, and poss to sync LFO to exterbnal sources Im sure

you also have no clue what your talking about again

thay are def for as you say, the more ''out there'' users most regular guitarsists would vomit at the sonic mess they create

like wise, even 15.99 is a rip off for something thats already been sold once, and its too much to pay for the peel sessions alone scam piracy is the way ahead

cool essential ive got the sessions on bootleg cassettes and thay are utterely fantastic but sooo worn out ill def rush out and buy this one

fantastico! ill be back from me hols for that une

didnt help him like tragic off key vocal racket over 80s-by-numbers electronic poo ps....i think Trademark were drooling after our Nord Lead backstage (in the bogs), after the soundcheck, they were like ''can we enquire as to how it makes that Grrrrrrrrrrr sound???'' I lied. Told them a load of bollocks. Trade secret etc.

oh yeh whatever ......but seeing as Ive been working on said masterpiece all feckin weekend* ill call it Asda Shelf Life this week. Next week it will probably have another working title. You know me. And in the weeks you work on it, you can invent a name you like for it**. Then when its finished we'll have nationwide public phone vote to name it. Calls charged at 10.99 per minute***. No sell out. *sounds yum! ** Dan and Nik are not permitted to name it. Ever. ***Remember to ask the bill payer for permission.

I missed most of Trademark cos I ran back to the hotel for something. Worst act we've ever played with was on the same night though!!....that fake Nazi schoolboy wanker Simon Cocknose or whatever, it was fucking hilarious seeing him throw a tantrum cos no one clapped/danced and seeing his rapid emotional decline as people drifted towards the exit en masse was beautiful. ''Youre all wankers, just farkin wankers i tell ya!!!'' But a nice aftershow disco! Thats the best thing we've gigged with, that aftershow disco. Yus. Spazz out. Spazz monkey.

yeh, i reckon it would work with the expresso pedal live *why didnt I think of that* in fact two expresso would be cool, one on frequency and one on pitch fuck *raids council tax fund* I might need more legs

Not sure I beleive the story about him leaving his wife by fax The slot in a fax machine isnt wide enough even for a pot bellied bald midget

you set fire to his car?! cool

conclusive proof that 99% of the music buying public are total morons