He might not be a household name but the world is sadly one honorable
person less this week. Ellis (along with fellow Duke University
graduate Tom Truscott) invented the concept of Usenet back in 1979. A
year later, the program was written and two computers in remote
locations were allowed to share information between each other. By
1993, there were over a thousand Usenet newsgroups, and at the close of
the century, nearly 40,000. Their efforts helped create the spread of
information which became the foundation of what the web has done
graphically, all without ever making a penny. I may have never known
the guy, but without him, you wouldn't be reading brainwashed right now
- I probably wouldn't have known Chris Miller, Greg Clow or Alan Ezust.
On top of that, I probably wouldn't have held on to my beliefs and
experiences from the early days that the exchange of this information
should be free of charge, advertisements and corporate sponsorship.
Thanks Jim, wherever you are, you were a visionary, a pioneer and man
of principles.
14758 Hits
No matter what I say about Timothy McVeigh, I'm going to get hell, but
I feel that I want to share my personal opinion, as a US citizen, as
somebody who opposed the actions of my government.
First off I want to say how sick I am of being flooded with overused terminology and the majority of reasons for both justification or disapproval. People on one side use the term "closure" - which makes no sense to me as friends and family members have been removed permanently from the earth prematurely. On the other side, the argument "two wrongs don't make a right" is often spoken, but that's a pretty empty statement when just tossed around like the tired old proverb it is.
The death penalty is wrong: as we owe an intangible knowledge our families, our children and future generations, to closely examine people who have been produced by our own society. We need to be responsible for our own products, our own actions, our own people, and find out what needs to change in order to raise our children to benefit the world they are a part of. It's a shame sociologists, psychologists, biologists and other scientists will not have McVeigh as a specimen to poke, prod, pick at for years, use for research and learn from. The man was willing to die from the beginning, knowing full well what he was in for. He met the fate he chose six years ago this past Monday. He chose his destiny and they gave him what he wanted. He was not punished, we all were.
13454 Hits
It was a good 45 minut drive to Gloucester on Thursday evening but it
was well worth the trip. A relatively out-of the way place called The
Fishtown Artspace had a night of some very stylish rock music.
Unfortunately I showed up too late to catch Tigersaw, but I do like the
members and their CD is pretty sweet. 27 was playing when I walked in,
also a local Boston-based group, rocking out with a strange blend of
Louisville-influenced rock combined with pre-programmed electronics to
accent the mix. Chris Brokaw of Come, Pullman and the New Year got up
to do a short set of guitar and voice, but what knocked me off my socks
was the performance from Austin-based Explosions in the Sky.
The group of four begun quiet with shimmering three-guitar melodies which cut through the night. This is one of those bands any musician just sits back and watches with their lower jaw on the floor wondering "why can't I come up with melodies like this?" The group continued and with a style not entirely unlike Mogwai or Godspeed, the levels and energy built, higher and higher and higher. Taking steps back between songs, the motion of the night never ceased, with a blaring ending as their drummer loses his sticks, uses his fists and collapses over the entire set.
Baltimore-based Sonna headlined the night and in a similar fashion was a instrumental act with four amazingly skilled musicians who observedly have an uncanny ability to pay perfect attention to everybody else. The writing style of Sonna could very well be much more skilled and original than Explosions but the energy and drive of the Austin boys more than made up for any of those differences. Fans of godspeed, Mogwai or Tarentel shouldn't avoid this show - tour dates are posted at www.temporaryresidence.com.
The group of four begun quiet with shimmering three-guitar melodies which cut through the night. This is one of those bands any musician just sits back and watches with their lower jaw on the floor wondering "why can't I come up with melodies like this?" The group continued and with a style not entirely unlike Mogwai or Godspeed, the levels and energy built, higher and higher and higher. Taking steps back between songs, the motion of the night never ceased, with a blaring ending as their drummer loses his sticks, uses his fists and collapses over the entire set.
Baltimore-based Sonna headlined the night and in a similar fashion was a instrumental act with four amazingly skilled musicians who observedly have an uncanny ability to pay perfect attention to everybody else. The writing style of Sonna could very well be much more skilled and original than Explosions but the energy and drive of the Austin boys more than made up for any of those differences. Fans of godspeed, Mogwai or Tarentel shouldn't avoid this show - tour dates are posted at www.temporaryresidence.com.
7162 Hits
It makes me want to run screaming in primitive joy, detonating nuclear
bombs, tearing down the city of Manchester and makes the perfect
soundtrack to watching the sun go down as I walk the fifty minute trek
through park, wastelands and dingy back streets, across the concrete
divide to Planet K. It's a tape of early Killing Joke demos and live
things and the wired conviction of that tribal drumming, barbarically
electrifying distorted synth and lyrical visions of armageddon are
still very potent, and show up much of the 'rock music' that has come
along since as the vapid piffle it is.
Amazingly in Planet K things were even more perfectly apocalyptic. The stage is bare, as if swept clean of life, but there's a massive headcleaning electric crackle resonating across the space as blue white rectangles flicker where performers are missing. The hum seems a logical stripping of Killing Joke to its essential wired core - Coleman's overloading synth. Occasional deep bass pulses shake the foundations at too slow a pace to register timing. Kevin Drumm is perched behind a laptop at the sound desk and is responsible for this overpowering purging noise.
This being Manchester, home of Buzzcocks, it could've been time to crack a bad Boredom pun about the Drumm hum but Mike Ladd wasn't allowing us any downtime. The band ambled on and launched as the Drumm fizzled out.
Was this the new dawn after the nuclear storm?
After Drumm's precise tones the sound was relatively muddy for the full on four piece with drums, raps, guitar/computer and turntables. Mike Ladd has a T-shirt emblazoned with the legend Afro Punk and gives us some spiel about his inspirations Bad Brains, Black Flag and Fishbone. Why do Americans in Europe eat at Pizza Hut? There are bigger questions but this between song joke exemplified the imperialist cloak of the 'free' market before Ladd scratched and funked his mark as an infesticon (opposed to majesticon).
It was a shame that Drumm didn't get another set before Tortoise did their thing. They did a professional set with much instrument swapping and it didn't really take off until the second half. I think they launched into what seemed like a freeform jam in the middle of TNT (or was it another track its hard to tell with all this lack of words) and Herndon was really giving it some at the drums. It was neat the way they almost seemed to lose control there...
The last trio of songs nailed it. A silence still at their instruments then BLAM! Senceca unleashed that dual guitar duel and the fire and fury was in their eyes and hearts. If only they could make a whole album like that first two minutes of free falling two turning pluck'n'strum'n'drum! Then the much requested Djed was an eye opener that faded like the setting sun as McEntire and Herndon decelerated their vibraphone runs.
Where Drumm had sparked off a cleansing fire and Ladd had the diatribes and plans and notions to free nations, Tortoise were embracing visions of post-apocalyptic utopianism - a new dawn after the flood that will wash away the masters and leave the servants what is left of the world. Ladd was back with a vision to take into the night as the final bars of the Tortoise European leg faded into the smoke.
The meek shall inherit the mirth.
Don't burn the flag, lets burn the Bush.
Amazingly in Planet K things were even more perfectly apocalyptic. The stage is bare, as if swept clean of life, but there's a massive headcleaning electric crackle resonating across the space as blue white rectangles flicker where performers are missing. The hum seems a logical stripping of Killing Joke to its essential wired core - Coleman's overloading synth. Occasional deep bass pulses shake the foundations at too slow a pace to register timing. Kevin Drumm is perched behind a laptop at the sound desk and is responsible for this overpowering purging noise.
This being Manchester, home of Buzzcocks, it could've been time to crack a bad Boredom pun about the Drumm hum but Mike Ladd wasn't allowing us any downtime. The band ambled on and launched as the Drumm fizzled out.
Was this the new dawn after the nuclear storm?
After Drumm's precise tones the sound was relatively muddy for the full on four piece with drums, raps, guitar/computer and turntables. Mike Ladd has a T-shirt emblazoned with the legend Afro Punk and gives us some spiel about his inspirations Bad Brains, Black Flag and Fishbone. Why do Americans in Europe eat at Pizza Hut? There are bigger questions but this between song joke exemplified the imperialist cloak of the 'free' market before Ladd scratched and funked his mark as an infesticon (opposed to majesticon).
It was a shame that Drumm didn't get another set before Tortoise did their thing. They did a professional set with much instrument swapping and it didn't really take off until the second half. I think they launched into what seemed like a freeform jam in the middle of TNT (or was it another track its hard to tell with all this lack of words) and Herndon was really giving it some at the drums. It was neat the way they almost seemed to lose control there...
The last trio of songs nailed it. A silence still at their instruments then BLAM! Senceca unleashed that dual guitar duel and the fire and fury was in their eyes and hearts. If only they could make a whole album like that first two minutes of free falling two turning pluck'n'strum'n'drum! Then the much requested Djed was an eye opener that faded like the setting sun as McEntire and Herndon decelerated their vibraphone runs.
Where Drumm had sparked off a cleansing fire and Ladd had the diatribes and plans and notions to free nations, Tortoise were embracing visions of post-apocalyptic utopianism - a new dawn after the flood that will wash away the masters and leave the servants what is left of the world. Ladd was back with a vision to take into the night as the final bars of the Tortoise European leg faded into the smoke.
The meek shall inherit the mirth.
Don't burn the flag, lets burn the Bush.
7409 Hits
Sadly enough, many people have arrived at brainwashed or are now Warp
Records fans because Coil, Meat Beat Manifesto and Aphex Twin have
crept into their collection through NIN remixes. What most average NIN
listener doesn't realize yet is that Reznor's entire act is derivative
from Cabaret Voltaire, Front 242, Kiss, 'With Sympathy'-era Ministry
and above all, Gary Numan. Watching this man step on stage to a large
club packed with about 600 die hard fans is a rather messianic
experience. The man has a career half way through its third decade, a
fresh and energetic young band and he looks incredible for his age.
Numan has always toyed with the part man/part machine persona, so it
comes as no surprise his backing group is a talented array of cyber
rivetheads, and while his music over the years has straddled genres, it
has never lost its anthemic fervor. The crowd went nuts for every song,
singing along with every word, reminding me once again that I need to
hear more of his post-1984 material. Of course, when suggested, most
people will turn away, lumping Numan into a category with one-hit
wonders and nostalgic retrospective collections including Culture Club
and Kajagoogoo. So he might play "Cars" live, so what? Listen to me:
it's good for you (things really only started making sense to me after
seeing his live incarnate, I'll never miss a show of his now). There's
nothing cheesy, aging or dated about the killer show and those who
doubt are only displaying their ignorance. Live dates are posted at www.numan.co.uk.
6534 Hits
By now the group has returned to their quiet Scottish countryside
homes, no doubt suffering some hearing loss after this most recent US
tour. Tuesday night's stop was their second to last on this brief tour,
the band played at the classical-style balcony-equipped Somerville
Theatre in Boston to a nearly sold-out crowd. The performance began as
most of their music does: calm, quiet, melodic and pretty. Selections
included music off their recent EP and LP and their forthcoming "Rock:
Action" album, due for imminent release. But be warned, since their
last visit the group has gained weight, lost hair and collected
distortion pedals along the way. Yes, they're fucking angry this time
with a wall of sound lounder than anything I've heard in years.
Exercising their volume muscles half way through the show every song
began to end on a very loud note, with humming feedback dragging on
while the members stood in front of amplifiers just to get -that- much
more umph. But wait, just when you thought it was loud enough, the
keyboardist emerges towards the front of the stage, guitar in hand, he
clicks it on slams a floor pedal and BOOM! The noise suddenly becomes
even more multi-dimensional. Much like many of these songs, the show
itself ended with a long barrage of distortion stretching at least
twenty minutes. Now, while many fans in attendance there were entirely
blown away by the experience, I found it rather excessive. People were
leaving the show with only one thing on their mind "that was loud!"
Indeed it was, but it sort of masked the musical portion of the show.
Nobody at this point could remember the keyboardist's flute-playing
bits or delicate piano playing, unfamiliar melodies of a forthcoming
album or a beautiful cellist that sat on stage right adding a charming
color nearly half the night. It was indeed Rock Action - a bunch of
teenagers nodding and agreeing with their buddies about how much that
show "kicked ass." Are Mogwai to become the Motley Crue of this decade?
7101 Hits
ESG, "SOUTH BRONX STORY"
Between the end of the 1970s and the beginning of the 1980s, the 'No Wave' movement surfaced, combining art-funk, punk and dance music into a mix which was not a commercial breakthrough, but was revered by many in the music community to be of great influence. One of the acts, ESG was comprised of four sisters from South Bronx, NY, and through many shows including gigs with The Clash, Public Image and Grandmaster Flash the group gained some attention across the water. Soon the group had a single produced by Martin Hannett, released on Factory Records, a gig at the opening night for legendary Manchester club, The Hacienda and more gigs with groups like A Certain Ratio and Gang of Four. Songs like "Moody" went on to become popular favorites in various night clubs while the b-side, a very 'Unknown Pleasures' Joy Division-sounding "UFO" went on to be sampled by rap acts including Public Enemy, Big Daddy Kane, LL Cool J and Doug E. Fresh. After a few singles and years of playing out a full-length album was released in 1983, but the interest waned, hip-hop was in and nobody was paying for the samples. The group still plays around occasionally and even released a track in 1993, "Sample Credits Don't Pay Our Bills." This collection, from a division of Soul Jazz Records (UK) reintroduces to the public songs from their album and singles along with some other early tracks. Listening to the music, their influence on early Beastie Boys, Luscious Jackson and early Salt -N- Pepa can clearly be heard. While it's arguably primitive in parts, the soul and energy is present throughout the entire disc, songs like "Erase You" are feverishly catchy while the Spaced-Out album version of "Moody" are hypnotizing.
Between the end of the 1970s and the beginning of the 1980s, the 'No Wave' movement surfaced, combining art-funk, punk and dance music into a mix which was not a commercial breakthrough, but was revered by many in the music community to be of great influence. One of the acts, ESG was comprised of four sisters from South Bronx, NY, and through many shows including gigs with The Clash, Public Image and Grandmaster Flash the group gained some attention across the water. Soon the group had a single produced by Martin Hannett, released on Factory Records, a gig at the opening night for legendary Manchester club, The Hacienda and more gigs with groups like A Certain Ratio and Gang of Four. Songs like "Moody" went on to become popular favorites in various night clubs while the b-side, a very 'Unknown Pleasures' Joy Division-sounding "UFO" went on to be sampled by rap acts including Public Enemy, Big Daddy Kane, LL Cool J and Doug E. Fresh. After a few singles and years of playing out a full-length album was released in 1983, but the interest waned, hip-hop was in and nobody was paying for the samples. The group still plays around occasionally and even released a track in 1993, "Sample Credits Don't Pay Our Bills." This collection, from a division of Soul Jazz Records (UK) reintroduces to the public songs from their album and singles along with some other early tracks. Listening to the music, their influence on early Beastie Boys, Luscious Jackson and early Salt -N- Pepa can clearly be heard. While it's arguably primitive in parts, the soul and energy is present throughout the entire disc, songs like "Erase You" are feverishly catchy while the Spaced-Out album version of "Moody" are hypnotizing. samples:
4651 Hits
5075 Hits
Metro Boston residents were fortunate to be treated to two area performances including the first from Pan American and the latest incarnation of Hrvatski. On Thursday night at Brandeis University's Rose Gallery Museum, Keith Fullerton Whitman (known to the world as Hrvatski) began the three-act show, sitting behind his laptop, guitar in hand, creating a film score-like experience.
6477 Hits
TORTOISE, "STANDARDS"
Nearly everybody reading this weekly electronic magazine has heard Tortoise by now and has already made up their mind one way or another on Tortoise's music. It's almost pointless to review the disc here as fans will most likely buy it and non-fans will most likely pass. If there was one rule to always believe in when it came to Tortoise's music is that the rules change every time. This time around the group pulled almost a complete 180° from 1998's TNT. While TNT took several months to record and loads of post-production perfectioning time, Standards was perfected live on the road (while the band opened for The Eternals as 'Woodcult') and recorded within a couple weeks. TNT was a cold-calculated exercise in recording technology while Standards is the result of a true rock band in action, bringing many influences and backgrounds to the easel and almost spitting them up on to the canvas without lengthy hesitation. The album explodes at the start with much louder than expected teeth-gnashing rock riffs, beefy drums, chunky bass and a nasty organ. Thus the concept is established - a simple rock concept of ten songs, five to each side of the record, almost the anti-concept of 'Millions' and even 'TNT' to some extent. The rest of the songs bounce around from slow to mid-tempo numbers balancing a somewhat familiar mix, as the group hasn't really changed. It's still the same people - the same paintbrushes are being used but the painting is of a rather new style. Familiar sounds include the counterpoint between low guitar and vibes, grumbling basslines, colorful percussion and a perfect amount of electronic manipulation. Perhaps this is the album which will unite fans of the old debut with the fans of TNT. Look out for the proverbial overpriced Japanese edition. This one's got 2 bonus tracks which total about 11 minutes.
Nearly everybody reading this weekly electronic magazine has heard Tortoise by now and has already made up their mind one way or another on Tortoise's music. It's almost pointless to review the disc here as fans will most likely buy it and non-fans will most likely pass. If there was one rule to always believe in when it came to Tortoise's music is that the rules change every time. This time around the group pulled almost a complete 180° from 1998's TNT. While TNT took several months to record and loads of post-production perfectioning time, Standards was perfected live on the road (while the band opened for The Eternals as 'Woodcult') and recorded within a couple weeks. TNT was a cold-calculated exercise in recording technology while Standards is the result of a true rock band in action, bringing many influences and backgrounds to the easel and almost spitting them up on to the canvas without lengthy hesitation. The album explodes at the start with much louder than expected teeth-gnashing rock riffs, beefy drums, chunky bass and a nasty organ. Thus the concept is established - a simple rock concept of ten songs, five to each side of the record, almost the anti-concept of 'Millions' and even 'TNT' to some extent. The rest of the songs bounce around from slow to mid-tempo numbers balancing a somewhat familiar mix, as the group hasn't really changed. It's still the same people - the same paintbrushes are being used but the painting is of a rather new style. Familiar sounds include the counterpoint between low guitar and vibes, grumbling basslines, colorful percussion and a perfect amount of electronic manipulation. Perhaps this is the album which will unite fans of the old debut with the fans of TNT. Look out for the proverbial overpriced Japanese edition. This one's got 2 bonus tracks which total about 11 minutes.
samples:
4867 Hits
THE NEW YEAR, "NEWNESS ENDS"
After much anticipation, the first release from the group formed from the ashes of Bedhead has finally materialized. While it quite clearly sounds like the Kadane brothers playing together, this indeed is a new group that almost follows a sort of progression built from the last full-length Bedhead album, 1998's 'Transaction De Novo'. The songwriting core of the Kadane brothers have become more experimental in both time and key signature, whilst surprisingly at the same time being more direct. Unlike the frequent Bedhead appearance of lengthy intros, the New Year takes little to no time getting right to the point, resulting in an album of ten solid songs totalling under 35 minutes. This is a great example on how important the mixture of musicians can change a sound despite the writing core remaining the same. Included in the group is former Come, Codeine and cuurent Pullman guitarist Chris Brokaw on the drums, who does a remarkably impressive job keeping up with weird time signatures and subtle changes which take place on the entire record. It starts off with a kick and ends with a bang as well, the quiet moments are kept in the middle — almost the exact opposite of Transaction. I must admit that at first listen I was rather caught off-guard as it wasn't that next Bedhead record I had been so longing for, but it changed for me. What began as catchy tunes became songs stuck in my head all day long, shortly after that I found myself singing along. Can't wait to finally see the show.
After much anticipation, the first release from the group formed from the ashes of Bedhead has finally materialized. While it quite clearly sounds like the Kadane brothers playing together, this indeed is a new group that almost follows a sort of progression built from the last full-length Bedhead album, 1998's 'Transaction De Novo'. The songwriting core of the Kadane brothers have become more experimental in both time and key signature, whilst surprisingly at the same time being more direct. Unlike the frequent Bedhead appearance of lengthy intros, the New Year takes little to no time getting right to the point, resulting in an album of ten solid songs totalling under 35 minutes. This is a great example on how important the mixture of musicians can change a sound despite the writing core remaining the same. Included in the group is former Come, Codeine and cuurent Pullman guitarist Chris Brokaw on the drums, who does a remarkably impressive job keeping up with weird time signatures and subtle changes which take place on the entire record. It starts off with a kick and ends with a bang as well, the quiet moments are kept in the middle — almost the exact opposite of Transaction. I must admit that at first listen I was rather caught off-guard as it wasn't that next Bedhead record I had been so longing for, but it changed for me. What began as catchy tunes became songs stuck in my head all day long, shortly after that I found myself singing along. Can't wait to finally see the show. samples:
4744 Hits
PAPA M, "SINGS"
David Pajo is quite arguably the indie scene's most versatile musician and artist. His guitar work has been integral parts of Slint and Tortoise while guest appearance and accessory roles have been filled for Matmos, Stereolab, Royal Trux and Will Oldham's Palace. Those close to him can also attest to his brilliance as a visual artist as well, but we will just have to take their words for now. 'Papa M Sings' is quite an unexpected trip, but not completely foreign given his geographic location on the planet. David Pajo exercises his vocal chords for every song on this 20-minute six-tracker. For the first time I think I can actually hear the Kentuckian guy behind his music, as the style is heavily soaked in a midwestern country influence. Absent are the looping melodies, electronic processing, lengthy delays and electronic percussion. It's all been replaced by Dave's acoustic guitar, slide guitar, bass, drums and banjo. Vocally, he's got a heartfelt delivery of somewhat comical lyrics, dropping references to his record label and Bob Dylan in "Pissing in the Wind," and longing for his home, (probably written on one of his many trips through the UK) in "London Homesick Blues." The disc is amusing and should appeal to most Will Oldham and Molasses fans, but I doubt many Europeans would quite fully 'get it' having not grown up over here.
David Pajo is quite arguably the indie scene's most versatile musician and artist. His guitar work has been integral parts of Slint and Tortoise while guest appearance and accessory roles have been filled for Matmos, Stereolab, Royal Trux and Will Oldham's Palace. Those close to him can also attest to his brilliance as a visual artist as well, but we will just have to take their words for now. 'Papa M Sings' is quite an unexpected trip, but not completely foreign given his geographic location on the planet. David Pajo exercises his vocal chords for every song on this 20-minute six-tracker. For the first time I think I can actually hear the Kentuckian guy behind his music, as the style is heavily soaked in a midwestern country influence. Absent are the looping melodies, electronic processing, lengthy delays and electronic percussion. It's all been replaced by Dave's acoustic guitar, slide guitar, bass, drums and banjo. Vocally, he's got a heartfelt delivery of somewhat comical lyrics, dropping references to his record label and Bob Dylan in "Pissing in the Wind," and longing for his home, (probably written on one of his many trips through the UK) in "London Homesick Blues." The disc is amusing and should appeal to most Will Oldham and Molasses fans, but I doubt many Europeans would quite fully 'get it' having not grown up over here. samples:
5926 Hits
Here's another seemingly pointless review as the Pan Sonic fans will have already ordered this so as not to have missed out on the limited run while the others would have passed.
4987 Hits
MOUNT FLORIDA, "ARRIVED PHOENIX"
So I've been staring at this disc for months despite its release being in late January. This Glaswegian duo has released three EPs over the past year, none of which I have mentioned, but I feel the urge to write about this, their debut full-lengther. I'm really enjoying their tackling of various genres and styles of instrumental rock and electronics, their style jumps around from spacey techno dub bits through abrasive rock chords, but it seems rather unfocused, bipolar and somewhat lacking. The group seems to rely on their production almost entirely as they're clearly 'building songs' (as opposed to 'creating artwork' or 'making a statement' or 'sending a message') which need more compelling hooks. They've got a clean sound and execute with a certain degree of professionalism, however it doesn't really have the bite of other genre-crossing instrumentalists like Tortoise nor the emotion of groups like Fridge or Mogwai. Not that the music sounds like any of those, but for an instrumental record within a generally accepted definition of electronic/rock, it comes up rather bland. Worth mentioning is the fact that I have found good uses for this on the radio and with guests over at the house. Songs like the guitar-punchy "Postal" and the tripped out blissful "Space, echoes" have drummed up some interest from curious listeners but I simply don't get what's so special about it. While this is nothing I would personally recommend dropping everything for and running out to get, Matador does have a track record of releasing music which similarly does not speak loud to me yet reaches many others in its path. Boards of Canada, Console and Wisdom of Harry immediately come to mind — while I generally think of these as fair, average, and vanilla-esque, they seem to have gained a lot of interest with others. Anyhow it's up to you, there should be some sound samples here soon! I really need to sleep now.
So I've been staring at this disc for months despite its release being in late January. This Glaswegian duo has released three EPs over the past year, none of which I have mentioned, but I feel the urge to write about this, their debut full-lengther. I'm really enjoying their tackling of various genres and styles of instrumental rock and electronics, their style jumps around from spacey techno dub bits through abrasive rock chords, but it seems rather unfocused, bipolar and somewhat lacking. The group seems to rely on their production almost entirely as they're clearly 'building songs' (as opposed to 'creating artwork' or 'making a statement' or 'sending a message') which need more compelling hooks. They've got a clean sound and execute with a certain degree of professionalism, however it doesn't really have the bite of other genre-crossing instrumentalists like Tortoise nor the emotion of groups like Fridge or Mogwai. Not that the music sounds like any of those, but for an instrumental record within a generally accepted definition of electronic/rock, it comes up rather bland. Worth mentioning is the fact that I have found good uses for this on the radio and with guests over at the house. Songs like the guitar-punchy "Postal" and the tripped out blissful "Space, echoes" have drummed up some interest from curious listeners but I simply don't get what's so special about it. While this is nothing I would personally recommend dropping everything for and running out to get, Matador does have a track record of releasing music which similarly does not speak loud to me yet reaches many others in its path. Boards of Canada, Console and Wisdom of Harry immediately come to mind — while I generally think of these as fair, average, and vanilla-esque, they seem to have gained a lot of interest with others. Anyhow it's up to you, there should be some sound samples here soon! I really need to sleep now. samples:
4719 Hits
FREEZEPOP, "FOREVER"
This young, well-coiffed fashion savvy Boston trio reminds me why I prefer why Pizzicato Five sings in Japanese, as it's far easier to enjoy superficial lyrics when they're in an incomprehensible language. The music is simple, full of predictable progressions, pre-programmed sounds and beats, with a flat vocal delivery derived from overdosing on Laurie Anderson, Kraftwerk and Liz Phair. Melodies aren't complex and harmony isn't in their vocabulary. Don't be fooled by catch phrases like "80s Retro" or "Electro Lounge" however as the tunes closely resemble those of many a teenager's terrible demos sitting in the trash buckets at Mute Records. "Kinder-pop" might be more appropriate, however, as I've heard of 5 year olds with a better sense of composition. To their credit, there's a lot of local support for the group, and I personally feel they have the potential to become something of note. One song on this disc jumps out, their Japanese-titled song (which appeared on the Arch Enemy 'Know Your Enemy' comp) shines head and shoulders above the rest of the tracks, with an actual effort placed on writing a multi-part song. These trust fund babies obviously have access to the equipment and recording facilities, now it's time to work on those writing skills, fellas.
This young, well-coiffed fashion savvy Boston trio reminds me why I prefer why Pizzicato Five sings in Japanese, as it's far easier to enjoy superficial lyrics when they're in an incomprehensible language. The music is simple, full of predictable progressions, pre-programmed sounds and beats, with a flat vocal delivery derived from overdosing on Laurie Anderson, Kraftwerk and Liz Phair. Melodies aren't complex and harmony isn't in their vocabulary. Don't be fooled by catch phrases like "80s Retro" or "Electro Lounge" however as the tunes closely resemble those of many a teenager's terrible demos sitting in the trash buckets at Mute Records. "Kinder-pop" might be more appropriate, however, as I've heard of 5 year olds with a better sense of composition. To their credit, there's a lot of local support for the group, and I personally feel they have the potential to become something of note. One song on this disc jumps out, their Japanese-titled song (which appeared on the Arch Enemy 'Know Your Enemy' comp) shines head and shoulders above the rest of the tracks, with an actual effort placed on writing a multi-part song. These trust fund babies obviously have access to the equipment and recording facilities, now it's time to work on those writing skills, fellas. samples:
4734 Hits
As a North American it's tough to listen to an Icelandic female singer backed with an adventurous rock band without remeniscing over the Sugarcubes. This debut solo album from former Unun singer features a wide spectrum of styles over ten captivating songs, from the rock-based opener, "Hugsjór," a pleasant tune with a dark aggressive side which rears its head from time to time to the surf-epic hit single "Loftborg," winding down to the slow "Sé Þig Alla Leið," which could easily be interpreted as a tribute to the smooth jazz vocalists of the fifties. The disc may be filed under Heiða's name but props are in order for a backing group who have successfully pulled off the dynamic stylistic demands with a remarkable precision, skill and feel. If this girl continues on outside of her homeland with touring and the label can succesfully export, there's no doubt in my mind the dull roar of an industry buzz would be terribly far away. Unfortunately I have yet to see this for sale anywhere outside of the Bad Taste website, badtaste.dk (the people who brought you Sigur Rós).samples:
4716 Hits
LOW, "THINGS WE LOST IN THE FIRE"
The sixth full-length Low CD release comes after a year of releasing enough music for three CDs and one baby girl. Like the last one, this one both appears on Kranky in the US, Tugboat in the UK, two bonus songs on the vinyl edition, and production by Steve Albini. While Low's songwriting skills get amazingly stronger and stronger, I'm finding more problems with Albini's production. To their credit, songs like "Sunflowers," "Dinosaur Act," and "In Metal" carry on their own style of somewhat abstract lyrics matched with breathtaking vocalizations, unchallengable synergy with a fondness of dissonance. To experience Low in person as a collective entity, you'll find that each of the three members create a triangular symmetry. Albini however completely disregards this with songs as "Black Like a Forest" (as he did with "Will the Night") by retiring Mimi's vocals to the background, ignoring the vocalists' harmonic set up. I'm also confused with the album's opener where the hell the strings came from as the music's going, going, going, flowing nice, but then a harsh fade up of strings from out of nowhere almost makes no sense without setup. Perhaps I'm being entirely too picky but after a while these things become out of place threads in a carpet. Disregard these things and you've got a perfect slab of wax, suitable for framing. samples:
The sixth full-length Low CD release comes after a year of releasing enough music for three CDs and one baby girl. Like the last one, this one both appears on Kranky in the US, Tugboat in the UK, two bonus songs on the vinyl edition, and production by Steve Albini. While Low's songwriting skills get amazingly stronger and stronger, I'm finding more problems with Albini's production. To their credit, songs like "Sunflowers," "Dinosaur Act," and "In Metal" carry on their own style of somewhat abstract lyrics matched with breathtaking vocalizations, unchallengable synergy with a fondness of dissonance. To experience Low in person as a collective entity, you'll find that each of the three members create a triangular symmetry. Albini however completely disregards this with songs as "Black Like a Forest" (as he did with "Will the Night") by retiring Mimi's vocals to the background, ignoring the vocalists' harmonic set up. I'm also confused with the album's opener where the hell the strings came from as the music's going, going, going, flowing nice, but then a harsh fade up of strings from out of nowhere almost makes no sense without setup. Perhaps I'm being entirely too picky but after a while these things become out of place threads in a carpet. Disregard these things and you've got a perfect slab of wax, suitable for framing. samples:
4956 Hits
LESSER, "GEARHOUND"
This week's mad scientist is a Californian named Jay. Starting off on this journey, the breaks are very disjunct and the transitions between tracks are so choppy, it's even confusing to me when new songs begin or if there are indeed different songs. It almost seems like he's making a conscious effort to avoid anything semi-conventional like establishing a rhythmic base or a bass foundation. But then SMACK! The track with Blectom from Blechdom and the "Gearhound Suite" provide that important plot twist, this guy is actually going somewhere with this! It's almost as if this disc is a physical journey up a mountain, hard steps and unclear paths on the way up, many choices and much on your mind, the sweat beads down and you fall short of breath and tell yourself how much you need to get out more. You reach the peak, have a nice look around, enjoy a refreshing bottle of water and begin your descent, looking down on the beautiful planet from high up, as you encounter various attractions on the way down. Keeping this analogy in mind, the remainder of the disc sort of heads down a rather soothing path, without giving up the digital choppery however. Three-dimensional visions burst into my head, giving the impression of lying on a soft waterbed that keeps shifting around, or running my finger on a densely-filled helium balloon, ready to burst. The end of the disc is the end of our journey, back on the earth with a sense of accomplishment behind us. Lookng back up the mountain we just climbed the whole picture seems clear but we're glad the heavy legwork is over. Lesser has successfully navigated a flight in the face of convention on many levels here. First off, he placed the peak in the center as opposed to most albums throwing a killer bang-up opener and a memorable fade for the closer. Then, consciously or unconsciously, he threaded a certain congruency between rather abstract and disjointed pieces. A disc which I originally thought would make more sense to me in the distant future has become much clearer with the proper attention. We, the listeners can be far more guilty of attention defecit than what many critics will accuse the musicians of.
This week's mad scientist is a Californian named Jay. Starting off on this journey, the breaks are very disjunct and the transitions between tracks are so choppy, it's even confusing to me when new songs begin or if there are indeed different songs. It almost seems like he's making a conscious effort to avoid anything semi-conventional like establishing a rhythmic base or a bass foundation. But then SMACK! The track with Blectom from Blechdom and the "Gearhound Suite" provide that important plot twist, this guy is actually going somewhere with this! It's almost as if this disc is a physical journey up a mountain, hard steps and unclear paths on the way up, many choices and much on your mind, the sweat beads down and you fall short of breath and tell yourself how much you need to get out more. You reach the peak, have a nice look around, enjoy a refreshing bottle of water and begin your descent, looking down on the beautiful planet from high up, as you encounter various attractions on the way down. Keeping this analogy in mind, the remainder of the disc sort of heads down a rather soothing path, without giving up the digital choppery however. Three-dimensional visions burst into my head, giving the impression of lying on a soft waterbed that keeps shifting around, or running my finger on a densely-filled helium balloon, ready to burst. The end of the disc is the end of our journey, back on the earth with a sense of accomplishment behind us. Lookng back up the mountain we just climbed the whole picture seems clear but we're glad the heavy legwork is over. Lesser has successfully navigated a flight in the face of convention on many levels here. First off, he placed the peak in the center as opposed to most albums throwing a killer bang-up opener and a memorable fade for the closer. Then, consciously or unconsciously, he threaded a certain congruency between rather abstract and disjointed pieces. A disc which I originally thought would make more sense to me in the distant future has become much clearer with the proper attention. We, the listeners can be far more guilty of attention defecit than what many critics will accuse the musicians of.
4612 Hits
HIM, "5 & 6 IN DUB"
Mighty Doug Scharin has a new sound for Him once again for the latest release. Last year saw the release of two full-lengthers, one with a modern electro-jazz feel, the other with a pure force of improvisational mayhem. This 32-minute three-tracker dives into the deeper, cooler side, known simply as dub. The opener, "Five" clocks in at over 14 minutes with long delays, hypnotic bass loops, trickling guitar, latin percussion, warm organs, and an unobtrusive sax. Track two's the shortest of the three tracks and a nice stop-gap which explores sound almost through entirely synthesized by analogue electronics - a primitive drum machine, older keyboards and tons of delay. The last track, "Six" takes an approach completely void of the standard drum kit - electronic or organic, with the group taking a sort of plugged-in "unplugged" mentality, all members grooving together without anything clocking the beat. Sure, these are remixes, meaning the originals have been tampered with, but where are the originals? This release is wonderful but it's a tease, it's way too short and the remix aspect gives me the impression their next album didn't start out this far into dub. Who knows except for Him?
Mighty Doug Scharin has a new sound for Him once again for the latest release. Last year saw the release of two full-lengthers, one with a modern electro-jazz feel, the other with a pure force of improvisational mayhem. This 32-minute three-tracker dives into the deeper, cooler side, known simply as dub. The opener, "Five" clocks in at over 14 minutes with long delays, hypnotic bass loops, trickling guitar, latin percussion, warm organs, and an unobtrusive sax. Track two's the shortest of the three tracks and a nice stop-gap which explores sound almost through entirely synthesized by analogue electronics - a primitive drum machine, older keyboards and tons of delay. The last track, "Six" takes an approach completely void of the standard drum kit - electronic or organic, with the group taking a sort of plugged-in "unplugged" mentality, all members grooving together without anything clocking the beat. Sure, these are remixes, meaning the originals have been tampered with, but where are the originals? This release is wonderful but it's a tease, it's way too short and the remix aspect gives me the impression their next album didn't start out this far into dub. Who knows except for Him?
4732 Hits
To use a word commonly
used by my friend Jeremy, I would call this one "Crap-tacular!" While
this film showed promise with a plot based on the mysterious filming of
the classic "Nosferatu" and a cast including Eddie Izzard, Willem Dafoe
and Udo Kier, it started off bad and got worse. The accents were
terrible and disgustingly mismatched, both American and English actors
clumsily fumbled through the German tongue, John Malkovich being the
biggest offender, slipping in and out of his accent faster than you can
say "Robin Hood." The continuity problems were an eyesore, with
different typings of "Orlock," a seeminly endless ladder walk and
mismatched cigarette positions. Most important of all, the story was
shit, leaving holes everywhere in the plot. The warning signs were all
here however. First off: Executive Producer Nicolas Cage—they must have
shopped this one around quite a bit before landing on somebody as rich
and inexperienced as Cage. Next up was the single preview syndrome—if
you only see one preview over and over again then even the promotions
team couldn't find any better clips to show. (I did want to spank
everybody who laughed at the "I'll eat her later" line, since
everybody's heard it a million times by now.) And finally: director
Edmund Elias Merhige. While he may have been praised for 1991's
"Begotten" for his stylish imitation of classic black-and-white film,
he hasn't directed anything else, automatically qualifying him for the
"discount director" award. Stay far away or go rent Ed Wood.
8191 Hits
