Dean Van Nguyen

About

The home of Journalist / Editor Dean Van Nguyen.

I mostly blog about music, journalism, pop culture, media , movies and living in Dublin. Currently I am counting down my Top 100 Albums of the 00's.

C.V.

    Bibliography

      Twitter

        Following

        http://rappersthatsuck.com/ http://elevenfourty.tumblr.com/ http://aceterrier.tumblr.com/ http://a-eliz.tumblr.com/ http://zooeydeschanel.tumblr.com/ http://jmarie3.tumblr.com/ http://fuckyeahbornruffians.tumblr.com/ http://crockeronline.tumblr.com/ http://joecoscarelli.com/ http://www.lanipauli.com/ http://hoarr.tumblr.com/ http://heyitsnoah.tumblr.com/ http://perpetua.tumblr.com/ http://pgwp.tumblr.com/ http://iconography.tumblr.com/ http://www.ladynasty.net/ http://tomewing.tumblr.com/ http://benfound.tumblr.com/ http://annierosse.tumblr.com/ http://theresolution.tumblr.com/ http://tuneage.tumblr.com/ http://67752.tumblr.com/ http://incondite.tumblr.com/ http://katstevens.tumblr.com/ http://doree.tumblr.com/ http://caoimheuberalles.tumblr.com/ http://renatenyborg.tumblr.com/ http://blackbeardblog.tumblr.com/ http://rachelhills.tumblr.com/ http://vktrs.tumblr.com/ http://metacritique.cc/ http://songsyouusedtolove.tumblr.com/ http://fluxcast.tumblr.com/
        Designed by Josh. Powered by Tumblr.

        The Top 100 Albums of the 00's - #100-81

        20up! Whether you’ve been following from the start or not, now could be a good time to lend your own voice. Are these choices bonkers? Are my reasons nonsense, or am I, as I believe, the sole source of good taste on the internet? I want to see your comments!

        An Introduction

        #100 ‘Idlewild’ by Outkast (2006)
        #99 ‘The Weight is a Gift’ by Nada Surf (2005)
        #98 ‘Stillmatic’ by Nas (2001)
        #97 ‘Chutes Too Narrow’ by The Shins (2003)
        #96 ‘Love Kraft’ by Super Furry Animals (2005)
        #95 ‘Thirteen Tales From Urban Bohemia’ by The Dandy Warhols (2000)
        #94 ‘The Marshall Mathers LP’ by Eminem (2000)
        #93 ‘We Have Sound’ by Tom Vek (2005)
        #92 ‘Veckatimest’ by Grizzly Bear (2009)
        #91 ‘Room on Fire’ by The Strokes (2003)
        #90 ‘Aaliyah’ by Aaliyah (2001)
        #89 ‘Maths + English’ by Dizzee Rascal (2007)
        #88 ‘The Life Persuit’ by Belle & Sebastian (2006)
        #87 ‘Heathen’ by David Bowie (2002)
        #86 ‘None Shall Pass’ by Aesop Rock (2007)
        #85 ‘Quiet is the New Loud’ by Kings of Convenience (2001)
        #84 ‘Yoshimi Battles The Pink Robots’ by The Flaming Lips (2002)
        #83 ‘The Eraser’ by Thom Yorke (2006)
        #82 ‘Suburban Light’ by The Clientele (2000)
        #81 ‘Happiness in Magazines’ by Graham Coxon (2004)



        November 04, 2009, 12:11pm   Comments

        What's Your Favourite New Song?



        November 03, 2009, 5:11pm   Comments

        The Top 100 Albums of the 00's - #81 'Happiness in Magazines' by Graham Coxon (2004)

        A quick glance over Blur’s The Best of compilation’s reveals the seeds that sowed the band’s demise. It opens with ‘Beetlebum’ and ‘Song 2’, from 1997’s Blur, an album that was largely significant in washing away the Britpop sound they had helped create, replacing it with a harder edged alternative sound. Their presence as marquee tracks on Blur’s first ever compilation suggested maybe they were a little embarrassed about some of their earlier output. Second album Modern Life is Rubbish, considered an important record for the Britpop movement and in establishing Blur’s identity, fell the hardest, being almost totally ignored. They repeated the habit earlier this year on Midlife: A Beginner’s Guide to Blur axing the gimmicky, but radio friendly #1 ‘Country House’ and including ‘Strange News From Another Star’, a kind of Bowie-like experimental workout.

        Really they needn’t have been so embarrassed. Britpop was great! Not since has Britain had such a flood of important bands, or an audience so excited about their output. I was only nine when Blur faced off against Oasis in their battle for chart supremacy, releasing singles simultaneously, but I remember it being a huge event. For a brief time, “your band” became as important for juvenile bragging rights as your football team, a concept that today I can’t see ever happening again. I don’t remember anyone particularly keen to take sides when Kanye and 50 Cent repeated the trick over a decade later.

        Britpop was such a huge beast that for the band who worked within it, surviving in the brave new post-1997 world was always going to be a massive uphill struggle. Blur were in a stronger position than most though, since they were possibly the only act who deliberately plotted its downfall. This movement was led by guitarist Graham Coxon, who wrestled control of the band from Damon Albon. Under Albon’s stewardship, they put out their so called ‘London Trilogy’ of albums which told witty stories of working class, perennially bored Londoners, and spawned some brilliant pop singles. ‘Girls and Boys’, ‘Parklife’, Charmless Man’, Blur were like the greatest boy band ever. But they always seemed to miss that in Coxon, they had one of the best guitarists in Britain and the artist himself could barely hide his discontent. In 1995’s video for ‘The Universal’, while Albon is having a riot hamming it up as Alex DeLarge from Stanley Kubrick’s A Clockwork Orange, Coxon is almost always out of shot, or sitting on the floor, probably pondering to himself “what the hell are we doing?!”.

        But oh, ‘Beetlebum’ and ‘Song 2’! Blur were Pavement, they were Nirvana, they were the entire Beatles back catalogue rolled into a seven minutes of music. And the music was laced with guitars. When those chugging, muted opening chords to ‘Beetlebun’ kick in leading into a deep, almost bass-like riff, you could almost hear Coxon’s sigh of relief. The dramatic change in direction he had pushed for had finally come to pass. But interestingly, getting his own way didn’t seem to totally appease him. Instead his creative dam burst, putting out a series of lo-fi solo albums during his last few years in the band. Pop music history tells us that solo records like this can be a way of releasing frustration. The more mainstream a band goes, the further into experimental territory one of its members can lean. Whatever his reasoning, something still wasn’t right in the band’s make up. The video for Coxon-penned single ‘Coffee & TV’ released in 1999 sees him slip away from the band’s practice session, only being noticed by an unresponsive Albon.

        Released at the start of the noughties, The Best of proved to be the last Blur record released while Coxon was still in the band, citing all sorts of reason for his departure. Happiness in Magazines followed a year later, and despite being solo album number five, it felt like Coxon’s first record proper. Producer of several Blur albums Stephen Street was brought in and no doubt helped Coxon focus on what he does best: play guitar and write brilliant pop songs. On his previous efforts, the modest lo-fi recordings couldn’t hide that although surrounded by more than a few throwaway tracks and hidden beneath the fuzzy haze, Coxon showed a keen sense of melody. Happiness in Magazines at its most poppy it sounds like the missing like between pre and post 1997 Blur.

        As soon as the CD whizzes into life opener ‘Spectacular’ sounds like you’ve been dropped half way in, before pausing, as if it forgot to play the intro and starts again. The whole thing sounds brilliantly juvenile, dispelling any thoughts that this was going to be an introspective post-Blur meditation or angry “bleagh, band done me wrong!!!” record. Apparently the song is about actress Shannon Sossamon, written after Coxon came across a picture of her online. “Saw you in my computer. Never seen no one cuter” - who’d of thought such a trivial event would kick start Coxon as a punk power-pop monster. When he hits the chorus and that “Youuuu Arrrre. Something quite Spec-tac-u-larrrr” banishes all thoughts that his voice is a weak instrument. As for the guitar playing, well, that’s reliably brilliant. For example, ‘No Good Time’ might be a pop song, but it can’t hide a complex stream of guitar fiddling going on underneath that’s so tight it wraps a massive steel wire around every other instrument, holding the track together.

        ‘Bittersweet Bundle of Misery’ shares the same DNA as Coxon-penned and sung Blur single ‘Coffee and TV’, but trades in the moody textures for a more optimistic feel. Using an acoustic guitar as the engine to drive his pop songs is simple, but effective, like on ‘Bottom Bunk’ which also sports some very Pulp-esque wit with lyrics like “you’re very pretty and you’re tanned, but I’d rather sleep with my right hand”. Indeed, most songs have a kind of irreverent humour running through them, no more so than on ‘People of the Earth’, in which Coxon takes on the guise of an alien, dishing out more criticism to our planet than Alan Sugar in his boardroom.

        But this kind of playful exuberance gave the feeling that for the first time in years (maybe ever) Coxon sounded agenda-less. Freed from the shackles of internal band politics, or budgetary constraints, he made a record of incredibly appealing, funny, memorable songs.



        November 03, 2009, 2:54am   Comments

        Last Night!

        I went to The Smith’s tribute band These Charming Men’s gig last night in the Button factory as a guest of their guitarist Gavin Murphy. I’d never met him before so when I got there I asked Morrissey was he around. He gave me a ridiculously rude answer. I thought he was out or order. Then when the gig started I realised he wasn’t their Morrisey at all, just some loonatic who rocked the same hair, clothes and glasses. He jumped up on stage a couple times and needed to be thrown off. Idiot!



        October 31, 2009, 9:41am   Comments

        The Top 100 Albums of the 00's - #82 'Suburban Light' by The Clientele (2000)

        A couple of years ago in a Wireless Bollinger review I slammed The Clientele’s latest album God Save The Clienteleas being “totally emotionless” with melodies that “just wash over the listener”, and that the band were “sorely missing the x-factor”.

        Scathing. I sure hope I didn’t hurt their feelings too much, but I must admit to really disliking The Clientele at the time. God Save The Clientele and their previous effort Strange Geometry were critically lauded by just about every publication I followed, but I just couldn’t hear it and if there is one thing I hate it’s a universally praised band that I just can’t see the fuss of (I’m looking at you Panda Bear). Not that both albums weren’t home to some very decent tracks. ‘Since K Got Over Me’, ‘Here Comes The Phantom’ and ‘Isn’t Life Strange?’ to name a clutch, all very good, but I could barely make it through a full length album, unless of course I fell asleep first, which with music I perceived as rather limp, wasn’t out of the question.

        But I must admit at that stage, I hadn’t listened to Suburban Light, making my totally unqualified to write about The Clientele. When I stumbled across the track ‘Rain’ soon after I instantly felt the need to re-evaluate my stance on the band. A dirty old recording just adds to the warm, stop and start melody delivered by a gorgeous vocal. It was a real “whoaaa, that’s The Clientele?!” moment. I had to check out it’s parent album, and I loved it! For a long time Suburban Light was the album I listened to when I didn’t know what I wanted to listen to. And funny enough, their two latest albums seemed a lot better. I think it unlocked my appreciation for their subtleties and man, if ever a band had subtleties! The delicately plucked, shimmering guitars, the gentle melodies that needed multiple listens to be coaxed out of the shadows. Not that I’m totally letting Strange Geometry and God Save The Clientele off the hook completely. There are still a few too many turgid ballads slid on for them to achieve the same classic album status as Suburban Light, but I still felt foolish for the negative things I’d said and written about them.

        Though as great an album as it is, it isn’t really an album at all, but a collection of recordings The London based band released between 1997-2000 as various singles, EP’s and compilation tracks. Take any 12 tracks random Clientele tracks and it sounds like an album as they’ve been remarkably consistent with their textures and tones, often sounding like a hazy Autumn morning (you’ll notice words like “rain” and “morning” on the track listing). Their retro brand of 60’s psychedelic pop splashed with some soft sunshine recalls The Zombies, their closest relative. But due to it’s cobbled together nature, the album never allows itself to become stale, constantly shuffling through the bands repertoire and varying recording qualities to keep the listener guessing.

        But while The Clientele’s music still requires multiple listens to truly appreciate it’s charms, there is nothing growerish about opener ‘I Had To Say This’. “Niiiightengales all summer long, beside me in my miiiind!” bellows out Alasdair MacLean in his distinctively croaky vocal style. They pack so much “umph!” into that line, and every line of each verse they’ve no choice but to slow down the connecting instrumental with delicate guitar solos so as not to blow their whole load too early. Closing with some well presented ‘Tomorrow Never Knows’ esque psychedelia, it’s a confident strut out of the traps The earliest recording is ‘We Could Walk Together’, which really sets the tone for their career. Gentle melody, pretty guitar, dead-on vocal, and for fun, a slightly psychedelic guitar part right at the end. It doesn’t sound like rocket science, but The Clientele packed so much warmth into their grooves they coax their listen back time and time again to soak up the subtleties of the music.

        Lyrically the songs pretty, poetic, introspective, set to an English morning backdrop, and mostly about girls and stuff. Take ‘6AM Morningside’, a picture perfect tale of two lovers losing track of time as they become lost in each other during an early morning stroll. “We walk down to the garden and the sunlight fills your eyes and stops me for a moment ‘till i turn and look the other way. The windows are all open and it’s Saturday”, sings MacLean, who sings with such nostalgic authenticity. You would be hard pressed to find a hand full of vocalists who could deliver these simple tales as believably. Even if you never had a girlfriend you’d be convinced these were your own memories. On ‘6AM Morningside’ the rest of the band know what they have, providing some backing drums, bass and guitar that couldn’t be any gentler. Clocking in a under two minutes it’s as charmingly modest as it’s subject matter, and is one of my favourite Clientele tracks.

        So over one album (and and it just took a single listen) The Clientele jumped from one of my least favourite bands to the complete opposite end of the spectrum. And I want to say I’m sorry. I’m sorry if my lousy review put people off buying your record. I’m sorry I attempted to write it without a wide enough knowledge of your music. I’m sorry I didn’t find the time to give your music the amount of listens it needs to be fully appreciated. Hopefully this will go some of the way you making amends because I owe the band for making this fabulous album. Even though I was born two decades too late, Suburban Light still manages to place me in 1968 every listen.



        October 25, 2009, 10:53am   Comments

        rappersthatsuck:

        T-PAIN feat. BARACK OBAMA

        This is awesome.



        Reblogged from Rappers That Suck.

        October 20, 2009, 6:57pm  Comments

        The Top 100 Albums of the 00's - #83 'The Eraser' by Thom Yorke (2006)

        With Radiohead, Thom Yorke spent the noughties baffling his fans. He was the driving force behind his band leaving behind their stadium rock sound to the world of Aphex Twin-esque electro squiggles and bizarre experimentation. Each record thereafter surprised in timing, structure, content and method of distribution. And then there was The Eraser, a solo record announced two weeks before it’s release that completely caught the world off guard as they eagerly waited for the new Radiohead album.

        So much about the Radiohead story defies logic, but the funny thing about The Eraser is it actually makes complete sense! It sounds like a Radiohead album, but without the other four members to flesh out the sound. The arrangements are sparse and but there’s pleasure to be taken from it’s modesty. This very much is nine tracks of inspired, unapologetic Yorke! And as you can imagine, that means glitchy, electro ballads, much in the style of Kid A.

        Kid A though may of had it’s fair share of 8 bit bleeps, but tracks like ‘The National Anthem’ and ‘Optimistic’ were so huge they were perfectly suited to the stadium rock Radiohead had spent the nineties perfecting. On ‘The National Anthem’, the horn section is so huge it knocks Yorke’s vocal off the track completely. The Eraser is far more minimalist, essentially created on a laptop. Yorke’s voice, always a priceless instrument, is absolutely key to the success of the majority of these tracks. I call it a solo record, though Yorke refused to use that expression, so let’s just say it’s him on his own, and he does sound lonely. His voice more claustrophobic and paranoid then ever.

        Of course Yorke wasn’t completely on his own. He’s joined by longtime production partner Nigel Godrich, who’s chief role was probably to go through the hours of recordings he was presented with and turn it into a set of songs. Each track is tight, and structured. Take opener ‘The Eraser’, which starts off with some stuttering piano chords, similar to Radiohead’s ‘Pyramid Song’. An electro beat and some mild squiggles make up the simple arrangement, and Yorke’s voice fills in the gaps. His falsetto bellowing far beyond the confines of his arrangement’s limited budget.

        This marks the first time in years, Yorke was singing songs that were actually about something, rather than exclusively using his voice as a sonic instrument. Lyrically the songwriting was more personal than Yorke had written since the OK Computer days. The environment was at the forefront of his thinking. ‘Analyse’, ‘The Clock’ and ‘Black Swan’ appear side by side and could be defined as his “environment trilogy”. “There is no time to analyse”, croons Yorke over a shuffling beat. ‘Black Swan’ shares the same DNA as Amnesiac’s ‘Knives Out’, with a eerie little baseline and a fiddly guitar making up the arrangement. “This is fucked up”, Yorke quietly contemplates. Impressive single ‘Harrowdown Hill’ though is famously about David Kelly, the chemical weapons inspector in Iraq who committed suicide in 2003. “Did I fall or was I pushed?”, Yorke sings.

        One of the most interesting tracks is ‘Skip Divided’, which sounds like nothing Yorke has ever laid down with or without his band. It’s a jarring, thudding love song, with the singer allowing his voice to go as low as I’ve ever heard. The vocal is cold and creepy, and the beat sounds like it’s been assembled with a series of sounds from a life support machine, just underlining the song’s desperation. “You are a fool, you are a fool. For sticking ‘round, for sticking ‘round”.

        A song like ‘Skip Divided’ really needs repeat listens to fully absorb was Yorke achieved, so in that was respect I was disappointed not everyone loved ‘The Eraser’ as much as me. Sure it was an exercise to indulge in the atmospheric computer clicks and skittered beats the rest of Radiohead probably couldn’t get excited about anymore, but Yorke just proves he’s better at it than anyone else.



        October 18, 2009, 11:21am   Comments

        Following The Boat People

        Originally published in August 2009 Issue of The Dubliner

        Thirty years ago, the Irish government allowed just over 200 Vietnamese refugees, on the run from war and devastation in their homeland, to settle here. Dean van Nguyen speaks to some of the original Boat People about how they survived, and eventually flourished, in this strange country

        It’s a humid afternoon in South London, and in his living room Tien Van Nguyen is struggling to read an issue of The Dubliner. He squints at the glossy pages then leaves the room, returning with his reading glasses. It’s the first time I’ve ever seen him wear them. Failing eyesight and a few wisps of grey hair are the first signs of this 45-year-old showing his years, but it’s not before time, since Tien has lived the kind of life you’d expect to cause premature ageing. I’ve travelled to London to interview him. It’s one of the trickiest tasks of my career, given his quiet demeanour and the fact that English isn’t his first language. And because he is my father.

        Between August and September 1979, Tien, then just 15, and 211 other Vietnamese refugees arrived in Ireland seeking freedom, protection and a chance to rebuild their lives. Many left behind their families, in a country devastated by war and poverty. They didn’t know the language; few even knew where Ireland was. The story of these Boat People is one of this country’s true tales of human endurance, and one that has largely remained untold.

        I myself knew shockingly little about my Dad’s own story, although we’ve always had a good relationship. It’s been nine years since he moved to London, and many more since we lived under the same roof, but relations remain strong. Tien has always been a quiet man and, predictably, is a difficult interviewee. He knows the reason for my visit, but shudders when I bring it up.

        “You should talk to your auntie in Coolock. They have been very successful!”

        He retreats further when I produce a dictaphone. It’s not that he’s secretive, or unwilling to relive his past. The Vietnamese have simply never sought the spotlight, despite the considerable media attention they received in the 20th Century. Even today, their existence in Dublin is pretty low-key.

        “No one knew anything about Ireland,” he smiles. “I saw some photos and videos of Ireland before I came over. I remember seeing old pictures of the countryside, with horses and carts and everything. We were told it was a quiet country. People just wanted freedom – they didn’t care where they went.”

        After the Vietnam War, many citizens of the formerly democratic South decided to flee the country rather than live under the new communist government’s regime. Some feared retribution when it was discovered that they had fought against the North Vietnamese forces, while others fled to escape ‘re-education camps’, essentially prison camps. There was also the threat of being forced to fight in the brief Sino-Vietnamese War that broke out between Vietnam and China in 1979.

        “Vietnam was desperate at the time. Everyone wanted to get out,” says Van Bui, a Vietnamese refugee now living in Lucan. Van has lived most of his life in Ireland, but has never forgotten the harsh realities of Vietnam in the late-1970s. “There was no more war, but the communists were making arrests and people like me were trying to get out of the country. I’d been in the [re-education] camps for a while. They forced you to go, but would claim you went by your own free will. I tried to escape back to the city and make a living, but you could never live free. There was no freedom. So I got out in 1979 and went to Hong Kong.”

        Fleeing the country was illegal under the communist regime, so travel by plane was impossible. The only option was to escape on a fishing boat or another makeshift sailing vessel; many of these were completely unsuitable for a trip into open water.

        “I escaped Vietnam in a very small boat,” explains Tien. “About 150 people were onboard. With no space, you could only sit. We sailed like this for about five days.”

        Often the travellers went days without food or water as they made their perilous journey across the South China Sea. It is estimated that 250,000 of those who fled Vietnam died in the stormy seas; 929,600 reached asylum. Many died when their boats were robbed and sunk by Thai pirates.

        Hong Kong was the most common destination for the refugees. “Life in Hong Kong was so crowded because Vietnamese kept coming over. It was very hot as well, it just wasn’t suitable for long-term living. But we just wanted to get out of the camps. Most people wanted to go to America or a big country, but the Irish government came and interviewed some of us.”

        Ireland herself was in bad shape in 1979. In the months before the arrival of the Vietnamese, the Troubles had reached new heights, and huge anti-PAYE demonstrations were taking place all around the country. The UN refugee agency had already requested that the Irish government allow a handful of Vietnamese families to resettle here in 1975 and again in 1976. Both times the request was refused on ‘economic grounds,’ but finally, under international pressure, the government allowed 212 refugees to enter Ireland (a tiny portion of the estimated 1.5 million who fled the country. America alone took 823,000 refugees; Britain allowed 19,000 in).

        Dr Vera Sheridan teaches Contemporary Culture and Society in DCU and has researched the adaptation of the Vietnamese community to life in Ireland.

        “There was pressure from the UNHCR [United Nations High Commissioner for Refugees] that all countries should take a share of the burden. The story received a lot of media attention. That number seems very small when you compare it to the States, but I can see a rational logic of the 212 in terms of a population of three million. It doesn’t seem particularly generous, but then again, look at the Irish economy at the time.”

        Between Ireland’s economic troubles and the Vietnamese refugees’ lack of English, finding work was tricky. Some were eager to move to America or Canada where they had relatives, and where there were job opportunities.

        “Many refugees wanted to get out of Ireland because there were no jobs,” Van remembers. He was fortunate: “I lived in Sligo and worked in a jeweller’s. I didn’t speak much English but the people were very good to me. There weren’t many Vietnamese in Sligo, but we took care of each other.”

        For those who stayed, opportunities began to come their way, thanks to their reputation as hard workers. “I worked in Jurys Hotel,” remembers Tien. “About 15 to 20 of us worked there. Others started working in Chinese restaurants as well. After that, everyone saved some money so they could buy caravans.”

        In the film adaptation of Roddy Doyle’s The Van, the main characters quip about being “fed by the Vietnamese.” This is how many Dubliners first came across them, as they spent evenings parked in housing estates selling curry chips and chicken balls from their food caravans.

        The vietnamese in Dublin today have come a long way from the image of the ‘Boat People’ shown to the world 30 years ago. The food caravans are gone, some replaced by Vietnamese-owned takeaways in Dublin’s suburbs, run by family members. Minh ‘Michael’ Dam and his wife Mai have worked in takeaways all their lives, and now own the New Century in Glasnevin. For Michael, self-employment felt like an obvious move.

        “When I first came over, I worked in the food caravans in Tallaght. I saw [Vietnamese] people doing well and when I had the opportunity to open my own takeaway, I took it. It’s been a great success.”

        In 1979, four generations of Mai’s family came to Dublin; she was just four years old. “My family owned a food caravan, and then a takeaway. I suppose it was the only profession for us at the time. I started working in the caravan after school when I was about 12. It just felt natural that I’d stay in the industry, and when I married Michael, things fell into place. We’ve had our own takeaway for about nine years now.”

        “Sometimes I work seven nights a week,” says Michael. “I don’t like sitting at home. I’d rather be working.”

        The refugees were not oblivious to the 1990s property boom either, as Tien observes. “There were a lot of new housing estates being built around that time and some Vietnamese wanted their own houses. They got mortgages and bought in places like Coolock and Donaghmede. About ten families bought houses in Clarehall alone.”

        Some choose to forge their path academically. Thinh Doan came to Dublin aged 14 with no English, and went on to win a Bank of Ireland Millennium Scholarship for people from disadvantaged backgrounds with academic potential. He studied Actuarial and Financial Studies at UCD. “I just try to work hard to represent my family and the Vietnamese community in Ireland,” he modestly asserts.

        Despite his achievements, his humble nature is extraordinary. “I don’t even think you should be interviewing me,” he laughs.

        Perhaps it’s this steely determination to make the best of their situation that will be the Vietnamese people’s lasting impression on this country. Many are now settled in Dublin with families, properties and businesses. The next generation has come along, and they embrace their Vietnamese values as well as their identity as Irish people.

        Van’s daughter Leila studies marketing in DIT, and thinks her Vietnamese roots have had a positive effect on her life. “I think the Vietnamese have a really good work ethic. They never think they are above any sort of work and they work very hard. They are resilient and I’d like to think I could be that strong.”

        There is a sense of pride among the new generation at what our parents achieved; when I suggest this to Leila she grins in agreement. “I guess I am proud of my Dad. He didn’t even know where Ireland was, and to come to a completely different country culturally and succeed, I think was a great thing.”

        It’s a sentiment I share with my own father. The interview’s over now. We move into the next room to look at some pictures of his early days in Dublin.

        “Got any photos of you with the mullet and ‘tache?” I joke.

        “You’ve no Vietnamese values!” he sighs. “You’re too cheeky to your parents.”



        October 07, 2009, 8:16pm   Comments

        The Top 100 Albums of the 00's - #84 'Yoshimi Battles The Pink Robots' by The Flaming Lips (2002)

        Ahhhh…robots! Remember them eh? By my watch they should be doing our daily chores by now. I mean it’s almost 2010 and I’m still cutting my own grass. So where the hell are they? Certainly not among us. Indeed in noughties pop culture, there was something more retro than futuristic about the robot. A teenage Arctic Monkey’s quipped about the 1984 dance move, while Wale-E, a microwave with eyes, rolled his way to box office success.

        The eighties depiction of the robot may not yet have come to being, but when this decade was ushered in, Y2K hysteria fortold the chaos that our reliance on machines could potentially cause. This sense of fear leaked into popular culture (most notably The Matrix films), and remained a source of anxiety throughout the noughties when issues like CCTV’s overuse and possible introduction of I.D. cards were being spoken about regularly. Robots though? Well they faded from the image of a future utopia to kind of a retro gag. The Flaming Lip’s Wayne Coyne was not laughing though. To him the future meant meditations on love, life, paranoia and robots. The robots on Yosimi Battles the Pink Robots were no jokes, and Coyne uses them to ponder on the world’s twenty-first century fears.

        But this was still the Flaming Lips, the band who shook up the indie pop world with their sprawling, symphonic masterpiece The Soft Bulletin three years earlier. The band were already prog rock veterans, but on that album they became full blown pop maestros, leading to Pet Sounds comparisons due to their insistence of surrounding their infectious hooks with everything except the kitchen sink.

        Yoshimi Battles the Pink Robots follows the same ethos. A concept album (or not, as Coyne himself has stated) with a machine that becomes self aware. It’s a tale told wonderfully by the band and alongside returning producer Dave Fridmann they create a sci-fi wonderland of polyphonic synths, moogs, blips, beeps, bells and whistles. Fridmann also turns the bass way up. And I mean wayyyyy up! It’s not so much the backbone here, but the whole nervous system. It keeps the arrangements surprisingly funky, as the bass plays school yard bully to the hordes of other instruments used to flood each songs pallet. Take opener ’Fight Test’, which pilfers Cat Steven’s ‘Father and Son’ melody to such precision that royalties were payed out. While an acoustic guitar is audible, it’s surrounded by a busy stream of other instruments. In saying that it’s still probably the most “straight forward” song on the album, signified by the calls of “the test is over…now” before making way for the spooky funk of ‘One More Robot/Sympathy 3000-21’.

        Incidentally, I named a publication I started One More Robot after this song. One line in particular I like is “one more robot learns to be something more than a machine”, which remains my motto for the magazine -to open minds. Again the bass is wonderfully loud, at a level that would drown out so many artists, but it works for The Flaming Lips because they’re a fantastically pretty band. ‘One More Robot’ has a gorgeous melody, and Coyne’s quivering vocal is delivered with such a child-like purity he gives the genuine impression of being in awe of the song’s characters that he himself created. Ditto on ‘In The Morning of the Magicians’ which starts off drawing from the Blade Runner end of science fiction with its moody synths, before disappearing at the sound of Coyne’ s acoustic guitar. With his delicate strums banishing the ominous synths as he sings, he sounds like a man in a bubble, oblivious to the madness surrounding him. “What is love and what is hate? - the calculations error” he ponders, reviving the theme of artificial emotions.

        The record’s major set piece however is two parter ‘Yoshimi Battles the Pink Robots’. Part 1 is like a poptastic dream, charting a young girls feud with a series of robots. Part 2 is a stunning instrumental to help depict that battle. The two tracks play like two competing sides of the bands personality.

        So much going on, yet Yoshimi’s most memorable moment, and lead single, was a relatively simple acoustic meditation on life. ‘Do You Realise??’ flies out of the traps, not really hitting a peak, but maintaining a level of euphoria that songs rarely touch for even a second or two. The wide acoustic strums, bells and harmonies on the delivery of the line ”do you realise?” make us pay attention to what we are about to be asked. Coyne uses it to teach some life lessons, on particular the importance of not dwelling on the past. “You realize the sun don’-go down. It’s just an illusion caused by the world spinning round”. It’s still packs an emotional punch six years on, and will do I’m sure for another sixty. Indeed, there are higher ranking albums on this list (83 higher ranked to be precise) but few felt as 21st century as Yoshimi. And that’s with or without the robots. 



        October 06, 2009, 10:56pm   Comments

        Stuff My Friends Say - Donal Pattison

        Harry

        1. To perform a menial task with mindless aggression or extreme prejudice. Frequently accompanied by the perpetrator screaming “Harryyyyy!”
          e.g. “Your washing those dishes far too slow. Harry them out of it!”
        2. To Smoke
          e.g. “I’m going for a Harry”.



        October 06, 2009, 4:09pm   Comments