For specific non-comment-related questions, consult the message board. For reading convenience, please open the reader comments section in a parallel browser window. If the concept of a German band with a Japanese vocalist singing in English about half the time - all the other time Damo Suzuki is mostly inventing his own ones doesn't sound particularly appealing to you, all I can say is I don't blame you.
For two reasons: a it is hardly possible to deny that whatever they had been doing in their prime years was musicnot just vain pseudo-experimental noisemaking, and much of this music was absolutely and completely groundbreaking and preceded its time by quite a few years; and b I can hardly judge more than five or six percents of this music as 'rather accessible' for the general rock listener.
In other words: it takes LOTS of skill and listening and bias-eliminating to enjoy this music, but once one breaks through, he'll be richly rewarded. Which is pretty good for Krautrock - they're not too hard to get into even for a newbie. Oh yeah. This is NOT just weird music for the sake of weirdness. They borrow a lot from the funk and blues-rock scene, but give it a wholly different edge.
Well, it's hard to decide here. Approximate number. Loads here. Overall : 3. This rocks a bit more than 'Monster Movie', and it's also an archive release so I'm eager to overrate it. So I'm a sucker. Not released officially until a looooong time after, this really really really shows how far German rock music had ventured as early as This is a little record packed with seven tracks that sound like raw, intentionally sloppy demos, but given that the entire Mooney period used to be like that - Can didn't really begin to build up their image of machine-men until Suzuki's arrival - it doesn't sound much different from their sole official Mooney release, Monster Movie.
With one serious difference: I actually like Delay better. In retrospect, if we manage to forget the fact that Delay is "archive stuff" and Movie is "the real thing", reality will show us that it's actually, or at least it should be, vice versa.
Can as an avantgarde-funk band, covering the vocal excesses of Malcolm Mooney. Groundbreaking, yeah, but definitely not visionary. I know it sounds kinda hypocritic - to rave about Can in the intro paragraph and open up the actual page with the review of an album which I'm frankly not too excited about.
But don't worry people, great times are just around the corner. So, as you have probably already understood by the hints in the previous review, at the start of their career, Can were led or, better to say, "teamed up with", since it's rather hard to tell who they were really "led" by by American-born black singer Malcolm Mooney, a guy with a heavy penchant towards incomprehensible scat singing and, as it later turned out, heavy schizophrenic complexes.
They were so heavy, in fact, that he had to leave the band after the very first record, and returned only much later on; but at the time we're currenlty discussing, Monster Movie deeply bears his imprint, and, while some Can fans tend to rave about this period as the band's best, I sincerely believe that this imprint was no good at all.
The band in full flight. As shocking, yet perversely enjoyable today, as it was thirty years ago. To say 'gruesomely underrated' of this album is to say nothing. I mean, nobody ever really dismisses it, but for the most part Soundtracks are lightly patted on the head and people say something like 'okay, the boys were only about warming up, just getting up right to do it'.
Of course, not each and every track on here should rate as the Cream of the Can, but based on the criterium of a consistency and b accessibility, this is easily the best Can album ever, and certainly the best place to start with the band if you don't want to get immediately turned off of the band with stuff like 'Aumgn' or the like. Undoubtedly this record, and none else, is the foundation and true and veritable basis of the Can legend.
And Boneyween - 808 State - Utd. State 90 (CD, Album) - its immense historical significance can hardly be overrated. Like I said, the music of Can predicted nearly every new musical genre ever to emerge out of the Seventies, Eighties, and Nineties, and this is most evident on the example of Tago-Mago.
Electronic, industrial, techno, New Age, even rap, you name it, there's a little bit of everything in this package. Even more important, if 'schizophrenic music' is what you're looking for, look no further.
The album cover is very indicative: for me, it stands like a visual equivalent of a person 'blowing his brains out', and that's what the band is doing here for about seventy minutes yes, the record was a double one, although now it is luckily available on just a single CD edition. After sitting through this thing just once, I almost laughed my pants off - hey, there actually are people who think Pink Floyd's 'On The Run' is schizophrenic! Now I don't really like to resort to this kind of comparisons, but Pink Floyd's 'On The Run' is just little child games compared to the paranoid onslaught of 'Peking 0' or 'Mushroom'.
Of course, I cannot guarantee that Tago-Mago was originally thought of as a 'conceptual' album dedicated to the themes of madness, as it's a regular thing to write something hugely experimental first and think of a suitable interpretation afterwards; but then again, 'On The Run' was deemed to be about paranoia only after the synth pattern in question had been established, not before. So I guess it's all a matter of scholastics. Can loosen their grip on us, at the same time deepening and broadening the sound.
Ain't spooky - just entangled. In their prime, Can used to never repeat the same record twice; and Ege Bamyasi is definitely different from Tago-Magowhich is good and bad at the same time. Good, because who wants another Tago-Mago? The original, minus the stupid collages, was so good it'd hardly be possible to top it.
Bad, because this particular direction isn't the best of all possible ones. Now wait, you won't actually hear me complaining about this one; it's a prime album, and it's fascinating to witness the band in full flight once again.
It's just that, coming off the peak of the previous two records, Can were unable to make another one that would stand up to the same highest standards. Such things happen. Can reinvent themselves as cosmic futurists, making one of the best proto-ambient records of its time. Some regard this as Can's finest forty minutes, and it's easy to see why. Future Days prompted a true revolution in the Can camp, and maybe even a bigger one than the one achieved with the arrival of Suzuki.
This was a period ripe with invention and progress, and each subsequent Can album left the others far behind. If Tago-Mago was proclaiming the power of paranoia and Ege Bamyasi ventured into the ethnic and the occult, then Future Daysthe last part of the glorious Suzuki trilogy, breaks the boundaries beyond mundane and cosmic.
As Americans we tend to mythologize the presidency into beyond-epic proportions. This release looked past that bullshit and instead focused on the nation's leaders as regular, and sometimes very flawed, people.
Wilderness - k no w here [Jagjaguwar] Conceived as a single musical piece and inspired by a collaboration with artist Charles Long, k no w here was a foreboding and menacing release from the Baltimore collective. Songs bled into each other without any discernible break; to the listener it created an odd effect of being trapped inside a lunatic's mind.
Throughout the album lead singer James Johnson yelped, barked and howled on top of the band's aggressive guitars and drums, his words oddly enunciated and often times unintelligible save for a few repeated phrases or snatches of lyrics. When Johnson's words were understandable, they almost always hinted at some type of upcoming but unnamed disaster, usually with a heavy dose of social or political undertones. Evocative of bands like PiL, Fugazi, and The Jesus Lizard, k no w here was both difficult to comprehend and yet, in the election year of a country with an economy going into the crapper and an outgoing administration that can't slink away soon enough, also somehow perfectly timely.
Vic Chesnutt, Elf Power, and the Amorphous Strums - Dark Developments [Orange Twin] An album that combined Vic Chesnutt's ability to craft melodies and darkly humorous lyrics with his penchant for distortion and electricity, Dark Developments was the singer's best effort since The Salesman and Bernadette. Joined by Elf Power and frequent backing band the Amorphous Strums, Chesnutt set aside the plodding vocal arrangements and murky production that plagued Ghetto Bells and the bursts of random noises that made North Star Deserter sound too experimental for its own good in favor of tight songs that relied heavily on background vocals and melodies you could even hum.
The album served up a big helping of anger and cynicism. Chesnutt spat out insults in "Little Fucker;" though the target was never named, it was tempting to view the song as a much-deserved dismissal of any number of people from the outgoing Bush regime. Other songs like "Stop the Horse" and "Teddy Bear" were also fodder for similar political interpretations.
Yet the album never got bogged down in political polemics; the subject matter was specific enough to suggest a certain topic but vague enough to allow music fans and overzealous critics to speculate wildly about each song.
Overall the album was a cohesive synthesis of what still makes Chesnutt's music so original and fascinating - a melody that lodges in your brain and won't get out, a disturbing or bleakly humorous lyric and a keen eye for the mundane details of life and death. Posted by Eric at AM No comments:. PresidenciesVic Chesnuttwilderness. A legacy is a hard thing to live up to. The American Indian* - Authentic Music Of The American Indian (CD) David Byrne and Brian Eno, a large part of their legacy is tied to 's My Life In the Bush of Ghosts; a collaborative effort and landmark album that employed samples and random voices in place of traditional singing, it remains one of music's most influential albums and, for better or worse, has spawned a thousand cheap imitations and two-bit knockoffs.
Described by Eno as "electronic gospel" and by Byrne as "more emotional than technical" in the liner notes, this release has little in common with Bush of Ghosts, both in terms of how it was created and how it sounds.
Whereas Bush of Ghosts was born out of close collaboration between the two musicians around the same time as the making of the Talking Heads' album Remain In Light, this latest offering was essentially a long-distance affair, with Byrne providing lyrics and vocals to tracks Eno had previously recorded.
The songs were eventually kicked back and forth and beaten into shape with session players and outside musicians. This sort of impersonal collaboration inherently runs the risk of resulting in a disjointed album, but for the most part this isn't the case with Everything. With a few exceptions, it sounds like a single coherent effort, instead of something strung together from two separate parts.
Byrne's lyrics and vocals fit Eno's tracks, which at least by his unique standards are straightforward and display little of the musician's more ambient or obtuse tendencies. The instrumentation is mostly understated and uncluttered, with an emphasis placed on simple, restrained melodies. The first two songs, "Home" and "My Big Nurse," are both built around an acoustic guitar, while the melody and rhythm of "Everything That Happens," "Life Is Long" and closer "The Lighthouse" are at least partly set by pianos and keyboards.
There are still plenty of electronic pops and clicks - this is Brian Eno we're talking about - but these are mixed nicely with the actual instrumentation. And though Byrne won't ever be mistaken for a smooth crooner, Patted On The Back - Various - Down In Front: Outtakes And Unreleased - 24 Songs (Vinyl) singing on these songs, and throughout the album, is strong and direct; the twitchy vocal style most often associated with him are largely absent here.
The songs that stray from this approach are usually the least successful ones. Both play out as some type of perverted mixture of s synth music and modern hip-hop; the distorted and smothered vocals on "Poor Boy" in particular kill the song before it really even gets started.
Snarky fans out there could argue that Byrne's lyrics don't' really stray outside his comfort zone - more songs about buildings and food indeed - but there is a certain degree of Pleasant Valley Sunday nostalgia and optimism that is somewhat unique to the Byrne songbook. Byrne acknowledges as much in the liner notes, commenting on the album's "sanguine and heartening tone. Though Byrne's penchant for social commentary and dark humor occasionally creeps in with some references to war, his neighbor's exploding car, and the litany of criminal activity in "Wanted for Life," the album is predominantly hopeful.
Aside from a few murky songs that primarily serve to indulge Eno's need for sonic experimentation, Everything That Happens Will Happen Today is an enjoyable album that reveals a bit more with each listen. Sometimes, it's enough to acknowledge a legacy without the burden of trying to top it. It starts with a suicide and ends with a man not wanting to drink alone. In the space between, the songs on the Triffids' masterpiece Born Sandy Devotional explore themes of violence, death, commitment, faithlessness and isolation set against the desolate backdrop of the band's native Australia.
Drifters and drunkards, wronged by love, hurtle through the darkness of night pulsing with, and comforted by, thoughts of revenge. First the boring technical details: At the time of the album's release in Marchthe band consisted of Graham Lee steel guitarsMartyn Casey bassJill Birt vocals and keyboardsRobert McComb violin, guitar, and backing vocalsAlsy MacDonald drums and backing vocals and David McComb lyrics, lead vocals, guitar, and occasional keyboards.
The album was recorded in London and mixed in Liverpool. For those keeping score at home, it peaked at number 37 on the Australian charts, and, for some bizarre reason, scored even higher on the Swedish charts. Hell if I know why. David McComb, who wrote all the album's lyrics, still remains one of music's more unheralded, fascinating, and, ultimately tragic, front men.
Throughout this life he suffered from chronic back pain and addictions to a whole host of substances, including alcohol, amphetamines and heroin; his alcoholism was likely the catalyst for the heart condition he eventually developed. By all accounts, a heart transplant in still didn't cause McComb to scale back his drinking or drug use. Inlong after the band had split up and while McComb kept on with various musical projects, he was involved in an automobile accident and died a few days after being released from the hospital.
The official cause of death was attributed to heroin and mild rejection of his transplant. McComb was only In various interviews McComb talked frequently about the autobiographical nature of Born Sandy Devotional; certainly it's tempting to see the album as McComb confronting and variously exorcising, accepting, or denying the sordid and messy details of his own life.
But this Its A Long Way There - Little River Band - Its A Long Way There (Greatest Hits) (Vinyl, LP) implies that the album is obtusely introspective or inaccessible, which it isn't.
The various emotions expressed in these songs, most of which are ugly, bleak, and exceedingly dark, are usually addressed in narratives that do not limit themselves to a particular time, place, or person. Though both McComb and the rest of the band were clearly influenced by their homeland- the album is dotted with references to Australian locales, and the album cover depicts the west Australian city of Mandurah circa - the album's lyrics and music are not bound by that geography.
McComb once described Born Sandy Devotional as "following the idea of fidelity as a complete all-consuming faith. Nearly every song deals with relationships on the skids that are well past the point of either reconciliation or simple acceptance. In these songs, the primary options are suicide, drinking to the point of numbness, ranting lunacy, or sweet revenge. Opening track "Seabirds," with its gorgeous melody and prominent strings, vividly chronicles the death of a man at the end of his rope, unable to find comfort in booze or the "total stranger lying next to him" in a ratty motel room bed.
We never find out if the disturbed gun-toting maniac of "Chicken Killer" is even aware that the girl he's searching for "caught death as only lovers can ever catch can. The mostly gentle instrumentation and McComb's baritone voice in "Wide Open Road" betray the violence foreshadowed by its narrator.
It's a picture of man gearing up for payback. It's a devastating track with a funereal mix of keyboards and jagged strings, unflinching in its sense of despair, regret, anger and loss. What emerges is ostensibly a portrait of a man evaluating how little he's accomplished in life as he struggles to cope with being alone: You just lie around waiting on a signal from heaven Never had to heal any deep incision Darling you are not moving any mountains You are not seeing any visions You are not freeing any people from prison Just an aphorism for every occasion The song ends without resolution; McComb doesn't let on whether the man will choose a self-inflicted ending like in "Seabirds" or pursue revenge as in "Wide Open Road.
Like most of the songs, a violent ending is implied - "Pick yourself up! Hold yourself up to the light! Watch for the blade! The album isn't entirely dark. The country-tinged "Estuary Bed" implies a sense of devotion, and album closer "Tender Is the Night The Long Fidelity " is the most romantic and sentimental song on the album.
Sung as a duet between McComb and Jill Birt, it's a mostly uplifting ending to the album, though the "gentle young man" described in the song has aged "years before his time" and his attraction to the woman is at least partially based on the fact that he doesn't' want to drink alone again. Over 20 years on from its initial release, Born Sandy Devotional remains one of the music's true underappreciated albums. The lyrics are exceptional and moving, with recurring images that link the songs together.
Coupled with McComb's evocative voice, the music is immediate and timeless and covers a wide spectrum of musical styles, whether it's the symphonic qualities of "Seabirds," the rolling keyboards of "Personal Things," or the sheer mad swirls of noise and 食卓の花 - LaB LiFe - 食卓の花 (CD) echoes throughout "Lonely Stretch.
Epic in scope and flawless in execution, it remains the Triffids' finest moment. Posted by Eric at AM 1 comment:. As music fans, we've been conditioned to approach reissues with a healthy degree of skepticism. A label sexes up a landmark album, maybe one that you played at your wedding or that still reminds you of the time you lost your virginity in the pet cemetery, by adding a few scratchy demos, inferior outtakes, concert droppings, digital remastering, and "original artwork.
I'm looking in your direction, Mr. The Matador label's approach in reissuing the back catalog of indie heavyweight Pavement has been far more enlightened. With each original release expanded into two discs consisting of the original songs plus demos, outtakes, b-sides, radio sessions, and live performances, along with liner notes and packaging, this reissue campaign has offered listeners an expansive snapshot of the band at each phase of its history.
Though the band's legacy is usually staked to debut album Slanted and Enchanted and second release Crooked Rain, Crooked Rain, Matador's reissue series has offered a pleasant opportunity to re-evaluate the band's later, allegedly inferior albums.
The label's recent release of an expanded Wowee Zowee served as a reminder of how wonderfully sloppy and erratic that genre-hopping album still is. The latest Pavement album to get the reissue treatment is 's Brighten the Corners. For the most part, it's aged very well, at least certainly better than Wowee Zowee. And though it might constitute indie heresy, I actually still find it more interesting and listenable than the supposedly untouchable Crooked Rain, which I will vehemently always maintain has several horrific songs on it when's the last time you listened to "Newark Wilder" or "Fillmore Jive" without getting Patted On The Back - Various - Down In Front: Outtakes And Unreleased - 24 Songs (Vinyl) or skipping to the next track?
Produced by Mitch Easter, Brighten the Corners still sounds cohesive, humorous and incredibly sarcastic. It's slower and more musically reserved than the band's previous albums; the random explosions of noise and Stephen Malkmus's screaming found on songs like "Chesley's Little Wrists" or "No Life Singed Her" is mostly absent. Singles like the sardonic "Shady Lane" and the dissonant "Stereo" still rank among the band's best work, while other songs like "Date With Ikea," "Transport Is Arranged," and "Type Slowly" show the band was also able to craft nice melodies in their more laid back moments.
If this reissue confirms anything, it's that there's not a boring song to be found on the album. Of course the real question surrounding any reissue is whether Patted On The Back - Various - Down In Front: Outtakes And Unreleased - 24 Songs (Vinyl) bonus material necessitates another purchase by fans who have already shelled out money for the original album; this question becomes even more relevant given the current shithole economy we're all mired in.
Quite simply, this reissue is more jammed up than a constipated septuagenarian. And that's a good thing. Disc one is rounded out with a number of b-sides and a couple unreleased songs from the Brighten the Corners sessions; of these, "Westie Can Drum" is the choice cut and features some real hardcore screaming from Malkmus. The second disc is a Pavement fan's wet dream. It starts with four songs that comprised the b-sides to "Shady Lane," all of which would have fit nicely on the album. Other record labels and artist would be well served to follow this example.
Earlier this year Louvin got godly on Steps to Heaven, a strong collection of gospel songs that also included a sometimes-overzealous set of background singers. Showing a definite Christian religious conviction without being heavy-handed or dogmatic, it focused heavily on mortality, albeit with an uplifting underlying theme of the afterlife.
The album includes several ballads that are standards of American music. Other songs show that Louvin remains a skilled interpreter of American ballads. Sings Murder also serves as a nice primer on the images, metaphors, and plainly strange motifs that define the American songbook. But for music fans interested in the bizarre and beautiful nature of traditional songs, this is a welcome and worthwhile album.
Posted by Eric at PM No comments:. To my college roommate who I promised that I'd run circles buck-ass naked around the Arch if Chinese Democracy ever saw official release: I sure as hell hope you aren't reading this. After a year tease that left many Guns N' Roses fans with a serious case of rock 'n' roll blue balls, what's left of the band best known for Appetite for Destruction and a seemingly single-minded focus on self-implosion and legacy dry humping has finally expurgated the oft-rumored album.
And the music world yawns and scratches itself. Cue up the indifference. What its primary conspirator, Axl Rose, probably envisioned as a grand musical masterpiece that would set the music world aflame is instead a dull, monotonous and intensely bland album. To be sure, the album was probably hyped and spoken about in hushed tones far more than it should have been.
In the comedy of errors and false starts that has been the history of Chinese Democracy, it was mythologized and elevated into some sort of aural Holy Grail; the only problem is that this grail is filled with backwash. I wanted to like this album, but there's no other way to say it: Chinese Democracy is an overproduced and overwrought wreck.
Those GNR fans who want to disavow this as a genuine GNR release would be well served to speak up now, or, in deference to Rose's vocal approach, shriek their objections like a helium-sucking hooligan. Certainly they have plenty of ammunition to support this argument: Rose was the only original GNR member who, um, nursed this tubercular wheezing child along, countless musicians as well as an orchestra are "credited" as having contributed to it, and a small army of people were involved in engineering and ProTools tasks.
I guess it's like Elephant 6 but with far worse results. Surveying the wreckage that is Chinese Democracy, the album's major flaws are in its production. It sounds like the strategy employed here was to throw a bunch of shit at a wall and see what stuck, and in a sense I suppose a lot of shit did stick. Without careful attention from the listener, songs like "Shackler's Revenge," "I.
S," "Catcher in the Rye," "Scraped" and "Prostitute" quickly become indistinguishable from each other and blend into a solid block of auditory misery, drowned under a flood of disposable and redundant arrangements. For perverse fun, GNR aficionados are encouraged to play the iPod quiz game to see how quickly or even if they can differentiate these songs. Rose's vocal approach doesn't do the songs any favors either. Though as a singer he's occasionally been prone to such exaggerated vocal quirks - what his singing did to "Knockin' On Heaven's Door" is unforgivable - these quirks were usually reigned in and in many ways gave GNR's songs a distinctive style that separated them from their Patted On The Back - Various - Down In Front: Outtakes And Unreleased - 24 Songs (Vinyl).
On Chinese Democracy Rose alternates from line to line between his deep voice and its upper register bastard cousin. Coupled with the lyrics' macho posturing and the self-caricature, it's a bit like listening to someone with multiple personality disorder having a conversation with himself. This review isn't meant to be Axl bashing; like many GNR fans, I was hopeful that Chinese Democracy would be a ballsy, aggressive and innovative record on par with Appetite for Destruction.
And I'm sure there are some fans enjoying this release right now, channeling their inner Axl, frantically trying to score for some vintage Mr. Brownstone, and desperately convincing their wives or girlfriends to just let them borrow the "Welcome to the Jungle" mascara already. But there's very little newness or creativity here; worse, the album sounds like the work of a man stuck in a time warp, short on an ability to self-edit and armed with a Yankees-sized budget.
As Chinese Democracy was delayed year after year and transformed itself from the band's missing masterpiece to a musical punch line, it was impossible for GNR fans not to become increasingly skeptical. Now we see why. Friday, December 05, Concert Review: Calexico. Nov 9, Always On My Mind - Wolfgang Mielitz - Margarita (Vinyl, LP, Album) Sunday nights in St.
Louis, people tend to shut it down early, even more so when it's freezing-ass cold like it was this particular night. A bit of grousing about the completely hapless Rams, asking a random stranger where he went to high school, and incredulously still pondering how the hell Ralph Nader received 17, votes in Missouri, and it's time to call it a day.
Anything on top of that is just too much. With some exceptions, Sunday night concerts in this town also seem to reflect this malaise; after all, it is a work night. Sure the hardcore musos still turn out in force and stare mesmerized at their musical heroes, but casual fans that might be more inclined to see a show on Friday or Saturday seem to bunker down at home on Sunday nights.
Consequently it was nice to see the capacity turnout for Calexico's show at the Duck Room on a Sunday. Essentially a cold basement that would bear a disturbing similarity to the stage design for Samuel Beckett's Endgame were it not for the stuffed, framed and mounted ducks that line the walls; what the Duck Room lacks in acoustics it more than makes up for in intimacy. At capacity or in this case, what seemed like damn near over capacity it's a tight squeeze for both musicians and fans alike, but when the band is on and the fans are receptive and not solely focused on double-fisting Bud Lights, it ranks among the top music Flecht - Reboelje - Medusa (CD, Album) in the city.
With the majority of concertgoers bundled up in heavy coats or ratty but ever-so-indie hoodies, Calexico tore through a set that drew heavily from latest release Carried To Dust, with a few older songs and cover tunes added to the mix. It was a sweaty, raucous, and damn loud show; the ringing in my ears still hasn't faded and I kept hearing mariachi horns when stuck in traffic this morning.
On record, Calexico tends to be very polished, textured and carefully crafted, with melodies woven into the songs that reveal themselves slowly with multiple listens. This isn't a knock or criticism by any means; at their best there are few bands that can evoke specific locations, moods, or atmospheres the way Calexico can, Patted On The Back - Various - Down In Front: Outtakes And Unreleased - 24 Songs (Vinyl).
Yet at the Duck Room they were a whole different beast: rough around the edges, the band approached the songs with a palpable aggressiveness largely absent from their albums. Help!
(Takes 11 & 12) - The Beatles - Help! Sessions (CD) like opener "Quattro World Drifts In " "Bend In the Road, and "House of Valparaiso" incorporated the trademark Calexico sound, but were just more manic and frenzied than their album versions. Though a few downbeat songs were thrown in, probably to temporarily relieve our throbbing eardrums - the country roll of "Slowness" and a languid "Fractured Air" were particularly soothing - the show's best moments came when the band was pounding away on their instruments.
A few covers were also given this treatment. Two Minutemen songs that have frequented the band's shows for years - "Corona" and "Jesus and Tequila" - were played at breakneck pace, Patted On The Back - Various - Down In Front: Outtakes And Unreleased - 24 Songs (Vinyl) sadly, only a few brave souls earnestly pogoed. Still that's about the worst that could be set about this particular show. Although the many people raving at the show's conclusion that it was the best concert they'd ever seen can at least partly be attributed to semi-drunken post-concert euphoria, it was still a memorable and exciting show.
Even if it was a work night. What are your thoughts on those types of comparisons? I think it is fantastic. No seriously, The Smiths will always be the band that made me want to throw my hat into the ring. They were the band that showed me that music could really paint a vulgar picture, could really make you feel something.
Is that valid or should I have my ears examined? All thoughts are valid! I need to make it my business to listen to them more. Lisa, though, has never listened to them. She does like Camera Obscura however. There are things about Death In June that really intrigue me. There are also things that really repel me. Each song on the EP tends to have its own unique musical style. One of the things I like about it is that it genre hops without coming across as unfocused or pointlessly random.
Was it a conscious effort to shape the EP this way? Yeah, well I really wanted to put the listener in this vaguely familiar place, somewhere in the past, like the setting of film. And I like how in cinema, the soundtrack is bound to the film by ideas or emotions… but it varies in sound and style, and often artist.
I like how things can change rapidly in dreams, but something of a narrative sustains. All the songs come together to form a sound, but no individual one says everything about us.
I think David Bowie was very good at that also. The song arrangements are credited to the entire band. Was it difficult reaching agreement on the arrangements among seven band members? Sometimes, but not often. I think the songs only get better when you let people mess with them. I have some really talented blokes in this group, and what they add is what makes these songs what they are.
I need that. The liner notes contain a few paragraphs about someone who leaves a ruined Hiroshima, wanders around Europe, and ends up in Palermo. Some of the songs on the EP hint at this story as well. Though I hesitate to call the EP strictly autobiographical or a concept album, it seems to have a definite story arc.
Can you explain? What I will say is that my previous band ended with a song about Hiroshima, so I figured this one should start there. Had things ruined, and have had to figure out how to survive. That is to say, that the same character or heartbreak could happen simultaneously in different places at different times, like Wuthering Heights. So it could be New York City in or Palermo in There seems to be a sense of loss and regret throughout the EP.
Then again, too few to mention. But seriously, much art is lamentation. And this certainly is. Does it bother you as a writer that listeners will possibly interpret these songs in a way that is different with what you intended? Whatever a listener adds to a song in their mind is just as important as what I wrote.
A writer once told me that when someone else sings his songs, he feels like a divorced man watching someone else play new daddy to his children.
I prefer it, for reasons that have a lot to do with my answer to the previous question. The more prisms a song can pass through, the better. But, it did take a while until I got comfortable with this particular prism, being Lisa.
She is so different in so many ways from the vocalist in my previous group. But at this point, these songs are hers as much as mine. Is a full-length album in the works, and will the band be touring anytime soon?
We are currently working on a full length, and hope to have it out by Spring ' What are your favorite albums of ? Nothing to boast about mind you. There is probably a lot more than one. I actually had to look at the Rolling Stone top records to figure out this answer. I decided to use the highest ranking record I could honestly say I did not like at all. But I probably secretly like it, or at least as a Long Islander have some conflicted emotion.
Does that disqualify them? Oh this list is pissing me off so much. Labels: Michael Grace Jr. Louis show at the now-defunct and much-lamented Mississippi Nights nightclub, way back in those heady days of I don't say he was brave because the crowd was particularly rough or violent that night; it's not difficult to be the toughest person among an indie crowd, which tends to consist of frail people sporting hoodies, black-framed glasses and heavy doses of mascara.
Some of the women also wear mascara. No, I say this man was brave for the simple and seemingly unremarkable act of wearing this shirt. Because, with some exceptions, we music fans tend to take any criticism of our favorite artists as deeply personal insults on par with the most biting Yo Mamma jokes or the most inflammatory political rhetoric.
Such criticism can open the critic up to a host of various insults, threats and suggestions to do something to himself that is physically impossible, often via the anonymity and safety net the Internet provides. If politics and religion are the two traditional hot button topics guaranteed to result in bruised feelings and bloodied noses, music should probably be added to that list.
Anyone noble or foolish enough to voice such dissent across the Internet's truly-disturbing global reach has probably felt such wrath. A couple years ago I wrote a facetious and, what I considered, utterly silly and entirely innocuous article that questioned why the Lynyrd Skynyrd standard-for-lousy-songs tune "Free Bird" tends to be eagerly requested by the more intoxicated or tone deaf elements of a concert crowd.
Meant only to bring a chuckle or two to someone's dreary day, it instead resulted in a pretty impressive barrage of hate email from those Skynyrd disciples who walk anonymously among us.
Mischief Of One Kind And Another - Julius Steinhoff - Out In The Woods EP (Vinyl), My Love Is Still Alive (Rock Version) - Domino (2) - My Love Is Still Alive / Euroboy (Vinyl), Try To Remember - Pat Kelly - 20 Magnificent Hits (Vinyl, LP), Skin Repulsion - Option (Cassette), We Almost Made It, Part 1 - Mescalibur - Entre Midi Moins 10 (CDr, Album), Radio.Seti.Org - Future Beat Alliance - Naked Eyes (File, MP3), Pat Moraz Solo - Yes - Sorcerers Apprentice (Vinyl, LP), Now Is The Time