By the time the press latched on in spring 2005, fans were already swapping bootlegs and gossip on Monkeys messageboards that they had started themselves in the absence of official avenues. Their canny friends burned copies to leave on buses, but more importantly, uploaded them to filesharing sites and set up a MySpace page. At first they didn’t do anything by design, beyond writing songs and gigging around Sheffield, distributing homemade demo CDs at shows. Arctic Monkeys always felt to me like the band that killed the NME.”īut they didn’t do it by design. That’s what changed in 2005 – we didn’t any more. We owned the conversation around guitar music. We were the only place who knew what the Libertines meant. Not Britpop? “The problem with Britpop is that Mohan owned it as much as everyone else – Blur v Oasis was a tabloid conversation. “The thing that joins those two things,” he explains, “is that we owned the fucking scene.” McNicholas resumes talking about two upward blips in the otherwise ever-declining curve of NME sales: punk in 1977 and – under his editorship from 2002 to 2003 – when the Strokes, the White Stripes and the Libertines reigned. It’s Dominic Mohan, the former Sun editor who ran the paper’s Bizarre column from 1996 to 2007. I n a noisy London pub, former NME editor Conor McNicholas stops mid-sentence to point out a man standing at the bar.
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