Wednesday, September 21, 2005
live-emailing the new strokes song
the Strokes : "Juicebox"
Hillary send me the new Strokes song around 10:30 this morning. I noticed it twelve minutes ago, or so. I sent her my thoughts as I was listening to the song for the first time. Here they are.
the Strokes : "Juicebox"
Hillary send me the new Strokes song around 10:30 this morning. I noticed it twelve minutes ago, or so. I sent her my thoughts as I was listening to the song for the first time. Here they are.
Mez Ecl to Hillary 2:35 pm (7 minutes ago)
hmm...
ten seconds in and it sucks.
I like them, though, so hopefully the next three minutes will improve.
seriously, this sounds like Hash Pipe, or something like that.
is this for real? or a bad joke?
now it's the Vines...
urgh.
Mez Ecl to Hillary 2:36 pm (6 minutes ago)
okay - I dig the chorus. the first forty or so seconds are too "rough". in their case, too butch. they're awful when they try to act tough.
Mez Ecl to Hillary 2:37 pm (5 minutes ago)
hmm...
is that "waiting for some action", or "waiting for some actress"?
is Julian dissing his homeboy Fab?
Mez Ecl to Hillary 2:43 pm (1 minute ago)
sorry to flood your inbox...
overall I think I maybe like it. the chorus and bridge are both good. it's at least half a good song.
I didn't like Reptilia much, for similar reasons. They're best when they're poppy, not angry.
so has the whole album leaked?
when a love song has gone wrong, where does a sad girl go?
St John Green : "7th Generation Mutation"
St John Green : "One Room Cemetary"
St John Green only put out one record, and that's a shame, because the supreme hippie nonsense of that single album reveals a band with an unimaginable potential for the sublimely ridiculous. I guess there's no telling how much of the awesomeness is due to the band, or the drugs, or the work of their producer, all-time freak Kim Fowley. Wherever the inspiration came from, it was a powerfully idiotic source, and led to the creation of one of the finest mind-zapping lp's around. I've got no idea how sincere they were about this, or if the whole thing is a big larf on the hippie stereotype that, when the record was made in '67 or '68, was already calcified by overzealous media scrutiny. But no matter the intent, the damn thing is amazingly laughable, and laughably amazing, and also a good fair chunk of some dark, ominous, psychedelic bullshit. I whole-heartedly endorse it. These two songs are probably the most extraordinary on here, as the "mystic sage at a grim carnival" schtick basically trump any and all notions of producing pop music. Full of cosmic-slash-existential dread, a fundamental disgust with humanity, and devils and Venutians and shit, these two songs sound sorta like White Noise. Maybe that's what this is, the California equivalent to those more rational / less emotional Brits. Anyway, there are some more traditional sounding late '60's psych-pop stuff on here, but nothing touches these two exercises in in(s)anity.
St John Green : "7th Generation Mutation"
St John Green : "One Room Cemetary"
St John Green only put out one record, and that's a shame, because the supreme hippie nonsense of that single album reveals a band with an unimaginable potential for the sublimely ridiculous. I guess there's no telling how much of the awesomeness is due to the band, or the drugs, or the work of their producer, all-time freak Kim Fowley. Wherever the inspiration came from, it was a powerfully idiotic source, and led to the creation of one of the finest mind-zapping lp's around. I've got no idea how sincere they were about this, or if the whole thing is a big larf on the hippie stereotype that, when the record was made in '67 or '68, was already calcified by overzealous media scrutiny. But no matter the intent, the damn thing is amazingly laughable, and laughably amazing, and also a good fair chunk of some dark, ominous, psychedelic bullshit. I whole-heartedly endorse it. These two songs are probably the most extraordinary on here, as the "mystic sage at a grim carnival" schtick basically trump any and all notions of producing pop music. Full of cosmic-slash-existential dread, a fundamental disgust with humanity, and devils and Venutians and shit, these two songs sound sorta like White Noise. Maybe that's what this is, the California equivalent to those more rational / less emotional Brits. Anyway, there are some more traditional sounding late '60's psych-pop stuff on here, but nothing touches these two exercises in in(s)anity.
Monday, September 19, 2005
yes there are twelve
Ginger Baker's Airforce: "Twelve Gates of the City"
It took a quarter of a decade for me to set my Clapton animus aside long enough to realize that Cream had some exhiliratingly bitchin' jams. Of course Clapton's the weakest link there, but between Bruce and Baker I can't really pick a favorite. At least I couldn't, until I heard Ginger Baker's Airforce. A ten-piece jazz-rock-r'n'b-prog-fusion-African pile-up, Airforce put out two records in the one year they were together, one live and the other recorded in an honest-to-gosh studio. Featuring other notable dudes like Steve Winwood and Denny Laine, Airforce was the third so-called supergroup in a row for Baker, and easily the least successful. And that's a shame, really, 'cuz their crazy hodge-podge of rhythmic junk is almost oppressive in its awesome ridiculousness. If you're into overwhelming post-'60's super-muso bombast, with dubious cultural appropriation and a hearty wank factor that would approach the pretentious if it weren't just completely excellent, then, uh, Airforce is for you, especially the live debut. These guys are maybe the definitive hamm-jammers. The second, studio album is more restrained, slightly more straight-forward, and thus significantly less interesting, but still pretty damn good. I don't have any mp3s from the first one handy, so please make do with "Twelve Gates of the City", the final song from the second record. I think you'll agree that the lyrics and, especially, the back-up singers, really help this song succeed.
Ginger Baker's Airforce: "Twelve Gates of the City"
It took a quarter of a decade for me to set my Clapton animus aside long enough to realize that Cream had some exhiliratingly bitchin' jams. Of course Clapton's the weakest link there, but between Bruce and Baker I can't really pick a favorite. At least I couldn't, until I heard Ginger Baker's Airforce. A ten-piece jazz-rock-r'n'b-prog-fusion-African pile-up, Airforce put out two records in the one year they were together, one live and the other recorded in an honest-to-gosh studio. Featuring other notable dudes like Steve Winwood and Denny Laine, Airforce was the third so-called supergroup in a row for Baker, and easily the least successful. And that's a shame, really, 'cuz their crazy hodge-podge of rhythmic junk is almost oppressive in its awesome ridiculousness. If you're into overwhelming post-'60's super-muso bombast, with dubious cultural appropriation and a hearty wank factor that would approach the pretentious if it weren't just completely excellent, then, uh, Airforce is for you, especially the live debut. These guys are maybe the definitive hamm-jammers. The second, studio album is more restrained, slightly more straight-forward, and thus significantly less interesting, but still pretty damn good. I don't have any mp3s from the first one handy, so please make do with "Twelve Gates of the City", the final song from the second record. I think you'll agree that the lyrics and, especially, the back-up singers, really help this song succeed.
Wednesday, September 07, 2005
you wonder why your life sucks
Anti: "It's the Drugs"
Anti: "Fill Me Up Put Me Down"
I know next to nothing about Anti. I'd never even heard of him until the last half hour. According to this post at ILM, he's a reclusive headbanger from Martha's Vineyard who's been making cd-rs for a few years now, using nothing but a bass and his voice. I think a lot of folks would be quick to call this outsider music (a term I generally dislike), but I'd have to disagree. I guess there's some Jandek in the presentation, and the vocals remind me slightly of Steve Gigante from the excellent Dark Inside the Sun, but I wouldn't call either of them outsiders, either. Both are idiosyncratic, sure, but neither of them possess the disability of a Wesley Willis or the incompetence of the Shaggs, and I don't think the person behind Anti does, either. Again, I've got no idea who that person could be, but this article seems to indicate that, as of June 2004, he was a high school student. Of course, there could be two Anti's from Martha's Vineyard, with ties to Aboveground Records, but I sort of doubt it. And Anti's rage is pretty teenagerly, for sure. Anyway, all I've got to say about "It's the Drugs" is that it's one of the best songs I've heard all year. It's heart's in the right place, you know? And "Fill Me Up Put Me Down" is pure misunderstood teen bile. I can't tell how much of this is serious, how much of it is some sort of deconstruction of heavy metal motifs, or what, but for the most part Anti seems pretty excellent. Scott Seward, the ILM'er referenced above, has put an entire album by Anti up at this here website. I recommend it, for sure.
Anti: "It's the Drugs"
Anti: "Fill Me Up Put Me Down"
I know next to nothing about Anti. I'd never even heard of him until the last half hour. According to this post at ILM, he's a reclusive headbanger from Martha's Vineyard who's been making cd-rs for a few years now, using nothing but a bass and his voice. I think a lot of folks would be quick to call this outsider music (a term I generally dislike), but I'd have to disagree. I guess there's some Jandek in the presentation, and the vocals remind me slightly of Steve Gigante from the excellent Dark Inside the Sun, but I wouldn't call either of them outsiders, either. Both are idiosyncratic, sure, but neither of them possess the disability of a Wesley Willis or the incompetence of the Shaggs, and I don't think the person behind Anti does, either. Again, I've got no idea who that person could be, but this article seems to indicate that, as of June 2004, he was a high school student. Of course, there could be two Anti's from Martha's Vineyard, with ties to Aboveground Records, but I sort of doubt it. And Anti's rage is pretty teenagerly, for sure. Anyway, all I've got to say about "It's the Drugs" is that it's one of the best songs I've heard all year. It's heart's in the right place, you know? And "Fill Me Up Put Me Down" is pure misunderstood teen bile. I can't tell how much of this is serious, how much of it is some sort of deconstruction of heavy metal motifs, or what, but for the most part Anti seems pretty excellent. Scott Seward, the ILM'er referenced above, has put an entire album by Anti up at this here website. I recommend it, for sure.
Friday, September 02, 2005
Do you guys like the Clientele?
They're one of those weird bands that seem to tread the line between completely obscure/somewhat popular and loved/annoyed by. So what's the deal? I assume most of you have probably at least heard the name.
They are a creeper band. The first time you hear them you think in blog language "meh" or "whatevs". Then you have a choice- check out something else, or see what the "meh" develops into. If you pick option number two, you'll start thinking in blog language "I *heart* Clientele", but that's too 2003, so it'll probably be more like "do I love the Clientele? Obs!" Or if you're a blogperson and you're age 20 or younger (or you're my brother) you think "CLIENTELE RULZ FLFORLA! AHALKJKS :') ROFL BRAVERY SUXXX." Or something like that. I don't know that language too well.
So if you listen to this, I recommend jamming it at least two or three times if you can "meh" it. They are a real slow-burn.
Since K Got Over Me
My Own Face Inside the Trees
These are two from their forthcoming album. The first is the jammmmmm. (obs)
They're one of those weird bands that seem to tread the line between completely obscure/somewhat popular and loved/annoyed by. So what's the deal? I assume most of you have probably at least heard the name.
They are a creeper band. The first time you hear them you think in blog language "meh" or "whatevs". Then you have a choice- check out something else, or see what the "meh" develops into. If you pick option number two, you'll start thinking in blog language "I *heart* Clientele", but that's too 2003, so it'll probably be more like "do I love the Clientele? Obs!" Or if you're a blogperson and you're age 20 or younger (or you're my brother) you think "CLIENTELE RULZ FLFORLA! AHALKJKS :') ROFL BRAVERY SUXXX." Or something like that. I don't know that language too well.
So if you listen to this, I recommend jamming it at least two or three times if you can "meh" it. They are a real slow-burn.
Since K Got Over Me
My Own Face Inside the Trees
These are two from their forthcoming album. The first is the jammmmmm. (obs)
I thought they were saying "hold me, Lee Majors"
That's the main reason I'm posting this song.
It's also pretty good, too, I guess.
I'm pretty sure every single one of us already owns this, but whatever.
Kanye West (feat. Nas and Really Doe): "We Major"
That's the main reason I'm posting this song.
It's also pretty good, too, I guess.
I'm pretty sure every single one of us already owns this, but whatever.
Kanye West (feat. Nas and Really Doe): "We Major"
Thursday, September 01, 2005
let me butt in on the newness here...
Sigur Ros: "Hoppipolla"
The first time I ever met Jimmy Hughes was at CMJ in New York back in 2000. That night I commandeered his bed after getting totally shit-faced at a Go-Betweens concert. I was completely, irrevocably drunk, as I was every night that week, and told Jimmy that, even though I'd be sleeping in his bed, there'd still be room for him, if he liked. Before falling asleep I somehow had the presence of mind to throw Agaetis Byrjun, which I had bought earlier that day, on the stereo. I was asleep about three minutes later. No spooning occurred that night, unfortunately.
But so, it wasn't Agaetis Byrjun that put me to sleep, because that record's really amazing. It was the drink, pure and simple, although perhaps the drugs Jimmy had put in my drink had something to do with it, too. For a few months that year, Sigur Ros was one of my favorite bands. It kind of passed quickly, though; I never really got into their earlier records, or that () thing. I haven't exactly been lookin forward to their new one, Takk, and in fact I didn't even know they had a new one coming out. A few weeks ago, though, I came across this song somewhere on-line, and it reminded me why I used to like these guys. "Hoppipolla" outsweeps Spiritualized, while also eschewing that dude's ridiculous junk fetishism. It's aching, but offers consolation, and is really just a beautiful song, if a little overwrought. Overwrought works with this kind of stuff, though, so that's actually a mark in "Hoppipolla"'s favor.
Sigur Ros: "Hoppipolla"
The first time I ever met Jimmy Hughes was at CMJ in New York back in 2000. That night I commandeered his bed after getting totally shit-faced at a Go-Betweens concert. I was completely, irrevocably drunk, as I was every night that week, and told Jimmy that, even though I'd be sleeping in his bed, there'd still be room for him, if he liked. Before falling asleep I somehow had the presence of mind to throw Agaetis Byrjun, which I had bought earlier that day, on the stereo. I was asleep about three minutes later. No spooning occurred that night, unfortunately.
But so, it wasn't Agaetis Byrjun that put me to sleep, because that record's really amazing. It was the drink, pure and simple, although perhaps the drugs Jimmy had put in my drink had something to do with it, too. For a few months that year, Sigur Ros was one of my favorite bands. It kind of passed quickly, though; I never really got into their earlier records, or that () thing. I haven't exactly been lookin forward to their new one, Takk, and in fact I didn't even know they had a new one coming out. A few weeks ago, though, I came across this song somewhere on-line, and it reminded me why I used to like these guys. "Hoppipolla" outsweeps Spiritualized, while also eschewing that dude's ridiculous junk fetishism. It's aching, but offers consolation, and is really just a beautiful song, if a little overwrought. Overwrought works with this kind of stuff, though, so that's actually a mark in "Hoppipolla"'s favor.
