Today’s theme for thoughtful people and those-what-like-pondering-on-deep-shit like us is clout. The so-called gravity and/or weight attributed to one’s voice or communicative projections. This notion is rife in music, and in our experience is not limited to just that. For example, how much credence are we willing to allocate to one person’s opinion over another? Are you more likely to to pay more attention to the words of a well-groomed chappy who looks like he’s got it all going on, or the guy with the crude change of clothes (i.e. dressed like he wants some money) and a drink in his hand? Perhaps more relevant to the context of this-here blog, we are constantly queried by those who clearly wanna know where we get our “tips” from. In tandem with this, yesterday’s frantic goings-on included a chat with a rather-delightful lady who works in comedian management (hence why compared to our angsty existence, at least as far as right-now is concerned, she is indeed delightful because she hangs with funny people on the reg) who insisted that she knew nothing about music. To break it to you all, the so-called influencers are not isolated from being influenced themselves. We take musical recommendations from our mum and dad, amongst a great many other people. No one person’s opinion in something so inherently subjective as music is any more or less relevant than that of anyone else. Just because somebody is being paid to do a job does not necessarily mean they know shit about the job. A judge doesn’t know everything about the law. A doctor doesn’t know everything about the human body. A&Rs and music bloggers certainly do not know everything about what makes a perfect song, including ourselves; but rather they will just be able to tell you broadly-speaking what they like, and on the odd occasion what they dislike. Periodically we find it hilarious that things like bands, brands, labels, whateverthefuckhaveyou, are appropriated by individuals who feel that they have a stake in the whole thing; and thus find it necessary to share their opinions in terms of how the thing itself should be structured – songs should be written a certain way; bands should dress in a certain style; labels should only release a certain type of music. In stark contrast to what we’ve just said about musical tastes being varied and very much subjective, we sometimes feel the need to remind the world that Killing Moon is an inherently selfish enterprise, and is indeed very much for us. Not you. Just us. We’re glad that people seem to dig what we do, but at the same time would encourage others to start a similar operation if they feel they can do it better. Which is kind of the whole point. Anyway. Speaking of being influenced, a few beers with our home-baws Chris Duncan yesterday evening following a particularly deep and insightful Amazing Radio panel (we thought they’d never ask us back; turns out they were trying to do us a favour by not even putting the idea into our head on account of how mental things ostensibly are right now) led to our recent checking-outness of current Track Of The Day’ers BLSHS. Which is roughly translated from their native Texan tongues to the Blushes pronunciation. Those clever internet kids huh. We’ve just realised that we’ve once again spent the vast majority of this write up blathering about ourselves, which while we’re entitled to do exactly that, doesn’t exactly set the scene for boastful plaudits that these guys can tell the family about. Sorry, guys. We’re hoping saying that our buddy Chris was right about you in that Runaway is a smooth-ass song. We’re talking along the lines of culminating the elements involved with New Order, Pawws, The Organ, and in regards to that keyboardy bit in the track we cannot help but start singing Swim Deep‘s King City over it all. Nothing wrong with that. Anyways, we’ll shut the eff up now so you can do your thing of checking the music out and hopefully/somewhat more importantly, making your own mind up about it.



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