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June 30, 2006

Quarterly Report, 2nd Quarter of 2006 - Podcast

Once again MS.com seeks to mine tracks from the best albums, and rescue tracks from questionable ones, in service of creating an unstoppable time capsule of a season's worth of music. Spring time had its hits and its misses, but there was good to be had, friends. Let's take a second, as rainclouds and crippling humidity ruin our lives to remember the beautiful days we once loved and the soundtrack filling our ear buds as we loved them.

We're taking a few days off to enjoy the extended weekend, celebrate our break up from England, and blow some shit up for Uncle Sam. To make your heart grow fonder in our brief absense, a neatly CD-R length megamix. Not only for you, but for America.

Album of the Quarter : Sunset Rubdown - Shut Up I am Dreaming
Runners up: Danielson - Ships, Fiery Furnaces - Bitter Tea

Merry Swankster, Q2 2006 Podcast [62.7 MB]

Tracklisting :

01: Camera Obscura- "I Need All the Friends I Can Get" (from Let's Get Out of This Country album)

Scots lasses take the super fey lead off track position from countrymen Belle and Sebastian in this go-round. I've now fulfilled my obligation (under rock journo ordinance #257864) to mention B & S within the first sentence of any Cam Obscura write-up. Stomps, handclaps, hipster chastising are highlights.

02: Fiery Furnaces - "Benton Harbor Blues (again)" (from Bitter Tea album)

Folks who claim the Friedbergers don't have it in them to write straightforward stunners just aren't listening. Beautiful melancholy over a slowed down Motown bounce, graciously provided in an extra, non wacky mix.

03: Holy Shit - "Written All Over Your Face" (from Stranded At Two Harbors album)

The most effective song Ariel Pink's yet been involved in, and non-coincidentally one of the most straightforward. He concentrates on trash can rhythm and lets pal Matt Fishbeck handle the dreamy vocal. Smooth, like driving down the coast on a slightly breezy day.

04: Sonic Youth - "Do You Believe in Rapture" (from Rather Ripped album)

Praised for an album of conventionally efficient rockers, I still get off on the one that creeps. Extra points for the Velvet Underground tease on the bridge that refuses to fully take over.

05: First Nation - "Female Trance" (from First Nation album)

Sometimes I'll say something reminds me of the Raincoats, and I'll mean that it's surprisingly cohesive for somehting so ragged. This time I mean it actually sound like the Raincoats did on record, specifically Odyshape when they lost their punk edge and went for less obvious rythym. Strong femininity that doesn't fall back on the dueling cliches of something to prove snarl or brazen sexpottery.

06: Asobi Seksu - "Strawberries" (from Citrus album)

Shoegaze touchmarks sure, but this one moves around too much to bore with an endless drone as genre purists might demand.

07: Juana Molina - "Rio Seco" (from Son album)

Lovely Spanish language folk livened up by Buddha Box electronic wallpaper.

08: Beirut - "Postcards From Italy" (from Gulag Orkestar album)

Ubiquitous for a reason, this sounds more convicted and world weary than any 19 year old has a right to be.

09: Sunset Rubdown - "Us Ones in Between" (from Shut Up I am Dreaming album)

The finest lyrical moment on the strongest album for lyrics we've yet seen in '06. The band's live majesty gave me new appreciation for the "wedding ring" coda.

10: Islands - "Rough Gem" (from Return to Sea album)

The best (only?) piece of evidence that disbanding the Unicorns and embracing Paul Simon's solo career was the way to go.

11: Voxtrot - "Mothers, Sisters, Daughters And Wives" (from Mothers, Sisters, Daughters And Wives album)

The token entry for blog propped up indie pop of questionable originality. They beat the seemingly unending flow of like bands by finding a more distinctive, muscular sound and moving away from their previous forays into Smiths karaoke.

12: the Raconteurs - "Steady as She Goes" (from Broken Boy Soldiers EP)

I've got nothing against Jack White (except maybe the moustache), but for an impassioned case I defer to superfan, M. Swankster himself: "Banding individual talents together does not a super-group mortar make, nor are synergies assumed or assured. The unionized strengths of Broken Boy Soldiers can surely be debated, but Brendan Benson’s clichéd lyrical sweetness integrated with the plump Greenhornes rhythm and garage crunch of Jack White reach a new success and keep the pessimistic cynics at bay."

13: Coin Op - "Hey Uri!" (single)

I'm probably breaking my own podcast bi-laws on this one, but it's due at least in part to the lack of info available on the group outside of a cryptic MySpace page. But if lack of a proper release keeps a poppier Mark E. Smith/ McLusky hybrid with bile directed at the title's fraudulent spoonbender off of the podcast on a techicality, then maybe the rules are meant to be broken. (Tip to Matt Fluxblog)

14: the Long Blondes - "Fulwood Babylon" (b-side, Weekend Without Makeup single)

The Blondes first Rough Trade single is nice enough in a new wave by the numbers sort of a way, but the b-side gives us the compositional twists and turns that seperate a great LB's track from a merely good one.

15: El Perro Del Mar - "God Knows (You Gotta Give To Get)" (from El Perro Del Mar (Woodwork) album)

I'm cool with the glut of old style girl group records being put out these days as long as they don't feel like insightless pastiche. This is too pretty and well crafted (in the Swedish style) to be written off as only a jump in the way back machine.

16: Danielson - "Did I Step on Your Trumpet?" (from Ships album)

The best rock song I'd heard as of April maintains its crown (of thorns) at the halfway mark.

17: White Flight - "Pastora Divine" (from White Flight album)

Animal Collective style, screaming organic pop, streamlined and reigned in (which is what I'm rooting for AC to do 60% of the time anyway). Before you claim copycat, let me point out that the second half of their debut record seeks to reconcile the Brooklyn aesthetic with laid back West Coast Snoop Dogg rap. Shockingly, they sort of pull it off.

18: Franz Ferdinand & Jane Birkin - "A Song For Sorry Angel" (from Monsieur Gainsbourg Revisited compilation)

I'm as surprised to find Franz on here as you are, but hey Serge Gainsbourg did write it. I'm not sure what his presumably very understanding lady love Jane Birkin looks like these days, but her breathy coo hasn't aged a day.

19: Gnarls Barkley - "Gone Daddy Gone" (from St. Elsewhere album)

Gnarls devotees would probably have picked a different track, but it's near impossible to argue that anything other than this electrified Violent Femmes cover would have nestled as easily into the mix. Plus I don't like R & B, so there's that.

20: Annie - "the Crush (Richard X mix)" (b-side, the Crush single)

As much as I wanted to like the grunge rock crunch of the single mix, the vapid lyrics and Deb Harry delivery work better as a hedonistic summer prelude.

Sweatbath, straight ahead.

Tags: Camera Obscura, Fiery Furnaces, Holy Shit, Sonic Youth, First Nation, Asobi Seksu, Juana Molina, Beirut, Sunset Rubdown, Isalnds, Voxtrot, the Raconteurs, Coin Op, the Long Blondes, El Perro del Mar, Danielson, White Flight, Franz Ferdinand, Gnarls Barkley, Annie,Music Podcasts

Posted by Jeff Klingman at 03:46 AM | Comments (2) | TrackBack

June 29, 2006

Man on the street interviews @ Jay Z Radio City Show

Merry Swankster puts on the 'viral video' hat and does its part to spread greatness. Previously scooped on Stereogum.

Jay Z: Radio City Music Hall, "What's the deal?!"

Who is this T-Bird character and why doesn't he have an HBO show?

Tags: Jay Z, Radio City, T-Bird

Posted by Merry Swankster at 12:58 PM | Comments (0) | TrackBack

A Sunny Day in...New York City

Living here in thunderstorm central, the headline as taken literally would be news enough. The clever interpretation, however, is more exciting. A Sunny Day in Glasgow, actually from Philadelphia, will be gracing our fair city to taunt us with their lower cost of living and bring out the dense jams. Ben Daniels and his sisters will be playing the snug Cake Shop on Sunday, July 16th.

The Daniels famile is hard at work on Sunny Day's first full length, eyeballing a late 2006 or early 2007 release date. New material has popped up on MySpace, namely non-EP tracks "Hal Hartley" and "Horn Song". Both are on the shortlist for the as of yet untitled album. What label this might be released under is still in flux at this time, but stay tuned to MS.com for details as they develop.

For the MySpace lurkers who haven't sought out ASDIG's self released EP (and it's quite good, chumps) I leave you with the band's never Spaced, sideways cover of the Guided by Voices infidelity classic, "Game of Pricks."

A Sunny Day in Glasgow- "Game of Pricks"

Old banjo samples are expertly sculpted to resemble the original's sing song melody. Gone is the narrative thrust, as the newly recorded vocals chime in only ever so often to deliver now out of context snippets of Bob Pollard's already odd lyrics. The end result is typical for a Daniels composition, in that it blurs lines between live and sampled, old and new, odd and familiar. Confusing as ever, but ethereally pretty to be sure.

Visit their website, order a CD, here.

Tags: A Sunny Day in Glasgow, Cake Shop, Philadelphia, Guided by Voices

Posted by Jeff Klingman at 08:00 AM | Comments (0) | TrackBack

June 28, 2006

Retrohump Day - Retro Revisited

One of the best things about You Tube (and it's quite a horse race), is that the database is ever expanding. Can't find what your looking for now? Try back in a week. Depressed that you've exhausted all the videos by your favorite artists? Somewhere, out there, some old punk dude with a ridiculous 16mm collection is finally hearing about the site, and making plans to upload some footage that will own you. It's the gift that keeps on giving.

So, with that in mind, occasionally we'll update old entries and swing the high beam around to great clips from previously spotlit groups and movements that simply weren't there the first time around.

We start with some amazing stuff...

Roxy Music - "Ladytron"
(Old Grey Whistle Test, 1972)

I wanted this video for the first Roxy Music post, and in fact I had seen it in the days prior to its' composition. But it disappeared. Sad. Now, magically, back up and in expanded form. Happy.

Somehow, almost thirty five years old and it still feels like people still haven't quite caught up. Even the musician placement is next level. Drummer in front! Guitar, oboe, and sax upstairs! The extended two minutes or so is basically Eno's nutty box, with assorted guitar scrapes. What do all those knobs do? The joystick? The gold gloves?

Orange Juice - "Rip it Up"
(Top of the Pops, 1983)

Much better than the cheesy as hell video for the song I first put up, and a strong argument as to why the cancelation of Top of the Pops, is a bad thing. Edwyn Collins looks alternately charmed and frazzled, lip synch or no, and the hand selected crowd is going nuts. I only wish there was more camera time given to the synchronized dancers who are just killing it. But maybe, I'll just close my eyes and wish, and some magic YouTube sprite will produce the all kick ass solid gold "Rip it Up" dancer clip. I wouldn't bet against it.

Tags: Roxy Music, Orange Juice, Old Grey Whistle Test, Top of the Pops

Posted by Jeff Klingman at 08:51 AM | Comments (0) | TrackBack

June 26, 2006

Swarm Coverage! - Liars/Apes @ Hi-Dive, Denver, CO 6.13.06

Denver’s Hi-Dive music club hosted an unofficial avant-garde rock night recently with a twin bill of the Apes, and Liars. Like the hyphenated genre descriptor alludes, the show wasn’t for everyone. Check out the previous post by Jeff for his review of the weekend Brooklyn show. Contrasting Rocky Mtn & NYC reviews and you'll learn that New York has more freaks.

The Apes

Washington DC’s the Apes opened up with a set of music that I can only describe as experimental thrash funk. Walkabout bass lines and heavy down beats provided stability for singer Breck Brunson’s channeling of dead sixties rockers as well as anchoring the fuzzed out sonic dirtying of the soaring organ. Said keys helmed by Amanda Kleinman who happens to look like a twelve year old girl. The sight of such an innocent looking girl sharing a stage, as well as contributing to this machine of sound was throwing me off, but not enough to turn me off. All in all a good primer for what was about to be unleashed by the Liars.

Angus Andrew

The Liars are not for everyone. Challenging, difficult for sure. I first saw the Liars at the 2002 Siren festival in Coney Island. This was a day of discovery that concluded with newfound fandom towards the fantasticness of the Shins, and the Yeah Yeah Yeahs. (It was perhaps an early step in the gestation of the modern day Merry Swankster.) Needless to say I deduced that the Liars brand of merrymaking (no relation) by way of processed noise and trashing sounds from toy keyboards was not my cup of tea. So now that my personal history with the Liars is understood, I can tell you that I doubt They Threw Us All in a Trench and Stuck a Monument on Top will ever be spun enthusiastically on my hi-fi.

Prior to the Hi-Dive show, I repeatedly filed disclaimers to my show companion that she wouldn’t like the band. Forewarning, "Its gonna be loud, weird, and I won’t be surprised if your ears start bleeding." It really couldn’t have been further from the poppy approachability of the Boy Least Likely To show in Boulder. Still we went with an open mind.

The freakishly high stature of Angus Andrew perched on a three foot stage is an intimidating sight, more so as he looks like a taller Gibby Haynes. Add the screeches and polyrhythmic drumming and a lesser, more sensitive man would be ruined by crippling nightmares. This same man would most likely suffer from a pre-existing Napoleonic complex.

Drums Alive and Kicking

The challenge in a Liars performance is to look past the immediate jumble of free form noise. Its easy to think, “Ouch it hurts so bad…what the fuck are they doing?” But if you listen (and watch) closely you'll see that just because it doesn’t appear to be the standard 'verse – chorus – verse' structure doesn’t mean the arrangements are compromised or thrown together haphazardly. That is to say at random, something about arming ten thousand monkeys with guitars and having them compose Floyd’s Dark Side of the Moon.

In many ways the Liars tear down conventions and rebuild on their own terms. Truly experimenting with music to find new ways to execute the established constructs. Which is why I reckon a quote like this makes so much sense after taking in some Liars:

"This time around, the challenge was to really try and simplify and be a bit more traditional, which is something a lot of people wouldn't expect. But for me it's more difficult to make a song than it is to make noise." – Angus on Drum’s Not Dead

Again, not for everyone, but the percussion showcase of Drum’s Not Dead adapted for the live stage is far from uninteresting. Piloted by the Liars, who by reinvention and moniker, deceive every expectation. As for the Angus-tall drunken maniac who was compelled to mosh and spread his douchebaggery by hitting people and screaming like a fool in my ear, fuck you.

//Liars - site
//Liars - Drum's Not Dead - buy
//Apes - site

Previously: MS Q1: 2006 Podcast, MS Pick - Liars - Drum's Not Dead, MS Daily Picks - Williamsburg forever!

Tags: Liars, The Apes, Drum's Not Dead, Angus Andrew, Hi-Dive

Posted by Merry Swankster at 11:45 AM | Comments (2) | TrackBack

Liars @ Warsaw, Brooklyn, New York. 06.24.06

"Insert new batteries," was the pleading display on the borrowed camera in hand at Liars' homecoming Brooklyn gig on Saturday night, the first back in town since the release of the spectacular Drum's Not Dead album. Beers, we had plenty. Batteries, not so much.

So my account must go sadly un-accompanied. Digitally impotent, even. But hell, it's not like there was anything to see. Except I guess a seven foot tall mountain bearded Australian in a jumpsuit with the entire microphone in his mouth, twitching. Oh, and then the time when said ocker, during the double drum kit assault of "We Fenced Other Gardens With the Bones of Our Own," shimmied out of the afforementioned one-piece to reveal a smart skirt and jacket ensemble with mismatched ankle socks. Since most were distracted by that freakshow, it could have been good to get a pic of the drummer who simultaneously shed a rain slicker, unleashing a full body wetsuit. And, in retrospect, maybe it would have been nice to document the moment in the encore when a superfan jumped on stage to start twitching himself and the skirted giant engaged him in a spaz-off, culminating in the fan doing his own costume change, unveiling the just purchased Liars tee (the one only available in girls' sizes, mind you) before diving off into a sea of pumping fists that, in a pinch, pulled the crowd surf off nicely. Oh, and maybe a candid snapshot of Karen O sneaking around the crowd with an expensive haircut and a bright red shoulder bag.

So, shit.

But, maybe it's better this way. Liars show as fever dream, as secret ritual. I can barely remember what they even played. All that remains is glimpses of movement and rhythm. Not only was drum not dead, he brought a friend. Julian Gross (in slicker/wetsuit) and Aaron Hemphill (sartorial straightman as always, in hoodie and slacks) played dueling drummer for a majority of the show, letting Angus Andrew's treated howl carry any nods to melody they felt like offering. And basically, that's a key to a Liars show, you get what they feel like offering. Absent from the set list were Drum's sweet send off "The Other Side of Mt. Heart Attack" as well as its first single "It Fit When I Was a Kid." Don't even mention "Mr. You're on Fire Mr."

Despite the usual round of subverted crowd expectations, it'd be wrong to say that the people weren't pleased. The reception was ecstatic. Fanatical. Rapturous. A guy behind me, face wrapped with skeleton jaw print bandana, never stopped the air boxing. Never. It ebbed and flowed with the tempo, a tad, but refused to quit as long as the boys continued the tribal attack. They kept their end of the bargain for sure. What the show lacked for delivering a handful of their best compositions, it more than made up for in sheer fury, energy level, and visual/visible dementia.

When they were finishing, in a rare moment of rest and chatter, they claimed they had a song they hadn't played "since the nineties" and descended into a wildly chaotic version of Nirvana's "Territorial Pissings." Not that they needed to claim turf. It was Liars' Brooklyn. A freak parade. Maybe the best show I've seen this year.

An unsatisfying glimpse has popped up on YouTube, that at least hints at the sonics:

I saw Punkcast's lovable hippie, Joly, front and center so the group psychosis will probably be documented for all soon enough. By then I might need the convincing that it actually happened...

Tags: Liars, Warsaw, Nirvana, Karen O

Posted by Jeff Klingman at 11:00 AM | Comments (1) | TrackBack

June 25, 2006

Pitchfork update makes it easier to know which bands they think suck

Even though Pitchfork Media has always wanted you to know it has strong opinions about music, it's not been so helpful in actually finding those opinions, maintaining a truly dreadful search function.

But oh Pitchfork, you've joined the oughts and finally introduced some new medianess, including, most importantly, genre metatags for singles (why not albums?).

And the search has been improved, so you can search by albums and keywords, as well as distill searches by scores and dates.

Unfortunately, the Web site does not return results with a unique URL (every search returns with a URL of http://www.pitchforkmedia.com/search/record_reviews/query, so I cannot send you the direct link, but you are now able to search all albums that received no higher than a 1.

Heavy hitters are Death From Above 1979, Weezer, Liz Phair, and, yes, the infamous Travis Morrison . I suppose you could use the same technology to find out which bands they endorse, but I can't see any practical use for that.

Posted by Keith O'Brien at 01:39 PM | Comments (0) | TrackBack

June 23, 2006

Snoop Dogg's new homey - Taylor Hicks

Things are different in Alabama.

Snoop Dogg (w/Taylor Hicks) - "Gin & Juice" - 6.16.06 City Stages, Birmingham, AL

Anyone else looking forward to Snoop Dogg guest judging an American Idol episode next season?

Tags: Snoop, Taylor Hicks, American Idol

Posted by Merry Swankster at 03:41 PM | Comments (0) | TrackBack

Beg Yr Pardon # 2, @ the Delancey, New York City. 06.20.06

photos by Devon Banks, and myself.

Tuesday night saw the second installment of the newly founded Beg Yr Pardon concert series at the Delancey. As promised, a good time was had by all. Lifted from just concert bill to home-y get together status by upstairs burgers and downstairs baked goods, and decked out with junior high streamers and balloons, the atmosphere was decidedly more relaxed than your average NYC show. With the dog days of summer fast approaching, a night in a cool basement, surrounded by nice folk and coping with frosting fingers is not a bad proposition.

Telenovela Star

Telenovela Star kicked off the festivites, and they were my pick for sleeper hit of the night. Moody, heavy guitar with the two front ladies trading off on vocal duties, or sharing the spotlight as neccessary. A "descent into math rock hell" showed some impressive chops (although I still can't bring myself to investigate that genre). At one point they popped one of the many circulating baloons with riffage alone. When they named an upcoming number as "Car Song", I was hoping for a sludged out Elastica cover, but the subsequent song was tough enough, and I can't hold my teenage obsessions against them, can I?

Planes for Spaces

Minneapolis' Planes for Spaces played slow, sprawling, two man rock. I'm all for minimalism, but occasionally, I think the drama the boys were going for could have used a fuller sound to support it (and also to kick in some gas money for that Twin City to Big Apple commute). But when it hit, with singer Joe January letting loose some "Patti Smith as a man" barks over the wasteland, it showed promise.

Takka Takka

Tight, bouncy, keyboard accentuated rock from the Clap Your Hands' associates. Set opener "Safer at Night" sounds like a blog hit waiting to happen (Shit, I guess it already happened). At times, they were maybe a tad too "bar-band-y" for my tastes, but we were in a bar, so that might be a ridiculous qualm. Of all the acts on the bill, I'd give these boys the "Most Likely to Succeed" tag.

Higgins

Hoboken's Higgins, who I'm just going to assume are named for Magnum P.I.'s manservant, play music that will be forever described as Beatles-esque. Of course, with the varied songbook of the Fab Four, that could mean alot of things. Specifically, think late period, end of their rope, impassioned yells added to the obvious melodies, Harrison's got a slide guitar under his pillow, variety. Nothing wrong with that. Sadly, we had to slip out before their set ended and free beer could be consumed. But the room was pretty lively behind us as we went to catch some Z's.

No rest for the wicked as the next party happens this Thursday @ Club Midway. With the long holiday weekend delightfully rushing towards us, what's taking a Friday "personal day" going to hurt?

note: image only, for mp3's go to the Beg Yr. Pardon site.

Tags: Beg Yr Pardon, the Delancey, Takka Takka, Planes for Spaces, Telenovela Star, HIggins, Free Beer, parties

Posted by Jeff Klingman at 11:06 AM | Comments (0) | TrackBack

June 22, 2006

Jens Lekman Tourdates

Featured MS artist, Jens Lekman, is about to venture across the US for a shor tour. Straight from a secretive Canuck:

"Jens plans to come back to the States with a 6-piece all girl band complete with horn section. Jens has also been in the process of creating his new record for Secretly Canadian. He promises that it will be a pop record. Secretly Canadian promises that it will be released in early 2007. Jens will be playing some new songs in what will opefully be a sort of sneak peak at his new record. However, Jens' live shows have always strayed from his recorded material so expect the unexpected."

Tour dates after the jump.

Jens is looking for someone to share his life with at the below locales:

07/19/06 New York, NY - Mercury Lounge (solo)
07/20/06 Philadelphia, PA - First Unitarian Church*
07/21/06 New York, NY - Bowery Ballroom*+ (SOLD OUT)
07/22/06 Boston, MA - TT The Bear's Place*
07/23/06 Rochester, NY - Bug Jar*
07/24/06 Cleveland, OH - Beachland*
07/25/06 Cincinnati, OH - Southgate House*
07/26/06 Lawrence, KS - Bottleneck*
07/27/06 Des Moines, IA - Vaudeville Mews*
07/28/06 Minneapolis, MN - The Triple Rock*
07/29/06 Bloomington, IN - Second Story*%
07/30/06 Chicago, IL - Pitchfork Festival

*with Frida Hyvönen
+with Beirut
%with Early Day Miners

Previously: MS Pick - Jens Lekman - Black Cab

//Jens Lekman - Oh You're So Silent Jens - buy
//Jens Lekman - site
//Jens Lekman - MySpace

//Frida Hyvönen - site
//Early Day Minders - site

Tags: Jens Lekman, Frida Hyvönen, Early Day Miners

Posted by Merry Swankster at 05:29 PM | Comments (1) | TrackBack

New Portishead

I'm not ready to be disappointed again (100th Window, anyone?), but NME reports that Portishead is almost ready to release a new album (via Information Leafblower).

At least they seem cognizant of what a misstep could sound like, via the band's MySpace blog:
(I cleaned up the grammar)

"It's great; it's nice to think us old gits have a few tunes in us without sounding like coffee table Zero 7 - Moby - chill out shit!!"

Posted by Keith O'Brien at 02:37 PM | Comments (1) | TrackBack

Detroit is not nice to Raconteurs , especially Brendan Benson | GQ Article

The June 06 issue of GQ has a wide ranging interview with the Raconteurs. A compelling read for anyone mulling relocation to the comforts of Detroit, or wondering how broken these boy soldiers really are. [Hint: Brendan Benson got the shit beat out of him for real.]. The GQ website has excerpts of the article online, but Merry Swankster sweatshop army I have transcribed the good parts below.

Benson on the White Stripes early success and the motor city:

“You know, they’d shone the spotlight a little bit on Detroit and I think people were kind of like, ‘Wow, if we can pull together, we maybe can make that happen.’”

Jack White continues and provides a good narrative on the trouble with good intentions:

“The funny thing is, we assumed, a lot of us at that time, that everyone was knowledgeable about other scenes in other towns in rock ‘n’ roll history. I always assumed that everyone was kind of smarter than that, that we all knew the deal and it wasn’t going to go down in any stupid way like it has in other places. But it did exactly that.”

So the scene went sour, but was there a defining last straw?

“Oooh, man,” White says, “I really don’t know. Not really. Not a final one. Just an overall kind of-“

Patrick Keller steps in. “Probably more a bale of hay.”

“Yeah,” says Jack. “Bales of hay from the sky.”

“I had a final straw,” says Benson. “I just felt like, You know what, I can’t champion this city anymore-“

“-that leaves you for dead,” says Keeler.

Keeler’s choice of words are meant literally. Benson was jumped and stabbed, in two separate incidents. You can’t make this stuff up.

Benson was at a gas station on a beautiful, sunny Detroit afternoon. He doesn’t know what hit the back of his head, but he figures it was something like a tire iron. While he was still semiconscious, he could hear the guy who had attacked him pretending to offer help…” You okay, man? You okay?...somebody call EMS” – while he rifled through Benson’s pockets, taking his wallet and his phone.

Benson was out for a while, and no one came to help. When he came to, all he could think of was driving the couple of miles to his girlfriend’s place of work, though he was in no state to do so. He kept passing out as he was driving, and weaving into oncoming traffic, bleeding down his neck. Though he had driven to his girlfriends’ workplace hundreds of times, he couldn’t figure out how to get there. He kept telling himself to sty awake, to concentrate. Fuck. Got to concentrate.

“It was terrifying,” he says.

He needed eleven staples in his head. He’s sort of okay now, but he’s been having headaches, and his concentration is not so great. And that wasn’t his only recent Detroit wound. A couple of weeks earlier, he had to chase someone out of his house, and when the two of them ended up wrestling, Benson was stabbed in his right shoulder.

“That’s two straws, Brendan,” notes Keeler. “That sounds like two straws to me.”

After the jump, White explains the motivation behind the Coca-Cola advertisement. His awareness of the hypocritical smugness is almost forgivable by claiming a naïve enthusiasm that served for inspiration on the Coke spot. While alluding to the payout, White is careful to point out he is not a billionaire.

Tags: Raconteurs, Brendan Benson, Jack White, Detroit, GQ, Coca-Cola

GQ: Is the Coke ad still happening?

Jack White: Yeah, very much so. The problem is, it got leaked before I wanted to present it.

GQ: Do you understand why some people, just hearing that you…

White: Well, that’s why. It’s a bummer that it didn’t get presented in the right light.

GQ: So is there anything you’d like to contextualize about it?

White: No, I just want it to come on television, so they can see it and know what it’s about. People think, ‘Oh, Jack White…Coca-Cola… That means they must have given him a billion dollars, and he’s totally put aside all his morals and virtues to give his soul to this corporation.’ I mean, come on. I’ve got better things to do.

GQ: I presume that there was something about it you thought could be special… The one description you’ve given used the phrase a “along the lines of love.”

White: Yeah-the visual aspect of what this Japanese director put together really touched me. I’ve never seen such a strange interpretation of brotherhood and brotherly love that I saw with this. And it inspired me.

GQ: And you don’t see anything evil per se about helping to sell a soft drink?

White: Nyeee…[makes a kind of equivocal noise] Well, I don’t really know. I never really thought about the product very much. I only thought about the visual aspect of this and the message it sent, and I thought about the worldwide forum that it would be in. It was one of those things that someone else will push out there-an idea and a song. And yeah, they’re getting something out of it, of course. But I got a lot of enjoyment out of that Coca-cola song ‘I’d Love to Teach the World to Sing’ when I was a kid, and I loved it.

The piece ends with an A-list enriched after-show anecdote that name drops actors, supermodels, and Beatle kin. GQ wets itself.

[At a nearby bar to a London show that has just wrapped up] a man stands at the entrance counting arrivals, and not long after the band shows up he declares that the room is full. As far as he is concerned, the two women at the head of the line simply cannot come in, despite the patient and calm persuasion from the two men who climb back up the stairs from the party to beg them entry. It is to the credit of everyone involved that the arguments for why there might perhaps just be a little more room downstairs seem to hinge neither on the identity of the men (White and Jude Law) nor of the women (Kate Moss and Stella McCartney). Eventually, the number counter relents, and everyone descends, separates, and mingles.

A while later, a voice comes over and address system:

“Ladies and gentlemen, the bar is now closed for the next twenty minutes.”

It turns out that the management wants to serve the bar’s usual members, who are being corded out by this strange influx, but at the time it seems mystifying. There is a silence, and then White, in the middle of the hubbub, speaks.

“Ladies and gentlemen the bar is now open.”

Previously: Jack White's Coca Cola commercial, Open letter to Jack White

Posted by Merry Swankster at 12:50 PM | Comments (0) | TrackBack

June 21, 2006

Retrohump Day - "Hand of God" World Cup Special

The entire world is officially caught up in world cup fever. Non-soccer fans in America, or those far from ethnic enclaves, are most likely ignorant of the fervor that is currently powering the spin of earth’s axis. Merry Swankster’s soccer passion is blessedly enabled by an accessible TV set during my day stints (re: full time job).

The tournament bonds citizens of participating nations to television sets as all civic activity halts at kickoffs during the month long cup. Schools close, businesses shutter their doors and governments declare national holidays. For ninety minutes the abandoned streets resemble ghost towns, livened only by the exuberance of victory. Celebrations replace the rolling tumbleweeds as cities burst into spontaneous carnivals of joy.

Diego Armando Maradona, arguably (by very few) the best soccer player in history is an Argentine phenom lifted to de facto sainthood in that country. Ask any Argentine (or knowledgeable soccer fan) about Maradona and watch him garrulously emit praise in heaping helpings.

Maradona led Argentina to a world cup title at the Mexico hosted world cup in 1986. His two goals against England in the quarterfinal match are two of the most memorable scores in the history of soccer. Both nettings are legendary, but the first is the most infamous of them all. Apologies in advance to our English readers for this scratching of a scab never healed.

Maradona - Hand of God Goal (Argentina v. England - Mexico '86)

Ask a thief if he considers himself a criminal and he may answer, “Only when I get caught.” What the referee doesn’t see, the referee doesn’t see. Soccer elevates this into a dramatic art form with theatrical falls to draw fouls, jersey grabbing and (at least in this case) most famously, the use of a player’s hand as facilitating guide for miracle goals. The player is Maradona. When asked about his “assistance” Diego stated, “A little of the hand of God, and a little of the head of Maradona.” The English side was incredulous, but the magnificent goal that followed was so incredible they may as well count it twice.

Maradona 2nd Goal (Argentina v. England - Mexico '86)

Maradona runs around at least five England defenders and the keeper while sprinting from midfield to score a gorgeous goal without the assistance of a pass. The announcer justifiably loses his shit while announcing the goal and praises God for both sport and player.

”Gracias Dios! Por el futbol! por Maradona, por estas lagrimas!”

-- -- --

”Thank you God! For soccer! For Maradona, for these tears!”

Live from Mexico, the 1986 cup was the Maradona show. Argentina would go on to win the title and be crowned world champions.

”Potro” Rodrigo – La Mano de Dios (Maradona)

I heard this song all the time during my last trip to South America in 2000. I do not know much about Rodrigo outside of this boxing-themed live performance of his ode to Maradona. This concert was around the same time that Maradona was battling a debilitating addiction to cocaine so I guess the boxing ring is a kitschy symbolic gesture. The religious undertone in Rodrigo's otherwise campy setting is not to be overlooked. Like a minister leading the flock, the Argentine faithful bestow love to their hero in a "Mano de Dios" sermon that serves both young and old, allowing everyone the opportunity to cheer a past they either missed, or want to relive. "Maradoo, Maradoo!"

Maradona's story bends towards tragedy as of late, revolving on the severe aspects of drug, health and weight problems, but his story is powerful, inspiring, and one of legitimate greatness. You can't fault devotees on their rose colored view of the guy, but like Rodrigo sings:

"Y todo el pueblo canto: “Maradoo, Maradoo”/pego alegria en el pueblo,/rego de Gloria este suelo."

English:

"And the people sang: 'Maradoo, Maradoo'/gave joy to the people,/brought glory to this land"

Follow the jump for more messianic lyrics (with English translation) and more amazing footwork from Maradona.

Tragically, in June of 2000 Rodrigo was killed in a car accident en route to a family holiday.

[MP3] Rodrigo - La Mano de Dios (Maradona)

More examples of Maradona songs from his club days at Italy’s Napoli can be found here. Songs from Argentina and club team Boca Juniors are here.

Tags: Maradona, World Cup, Argentina, Hand of God, Rodrigo

Rodrigo - "La mano de Dios"lyrics

En una villa nació, fue deseo de Dios,
crecer y sobrevivir a la humilde expresión
de enfrentar la adversidad
con afán de ganarse a cada paso la vida.

(In a villa he was born, it was God’s will)
to grow and survive in a humble expression
to confront adversity
with eagerness to win at each step in life.)

En un potrero forjó una zurda inmortal
con experiencia sedienta ambición de llegar.
De cebollita soñaba con jugar un Mundial
y consagrarse en Primera.
Tal vez jugando pudiera a su familia ayudar...

(In the play fields he forged an immortal left
With experience and ambition thirsts to make it.
From cebollita he dreamed of playing in a world cup
And devote himself to first [champion].
Perhaps by playing, his family he could help.)

A poco que debuto “Maradoo, Maradoo”
la Doce fue quen coreo “Maradoo, Maradoo”
el sueno tenia una estrella llena de gol y gambetas

(At barely his debut, “Maradoo, Maradoo”
the Doce [Boca Fans] was who ran “Maradoo, Maradoo”
the dream had stars full of goals and [evasive moves])

Y todo el pueblo canto: “Maradoo, Maradoo”
pego alegria en el pueblo,
rego de Gloria este suelo.

(And the people sang: “Maradoo, Maradoo”
gave joy to the people,
brought glory to this land)

Cargo una cruz en los hombros por ser el major,
Por no venderse jamas al poder enfrento.
Curiosa debilidad, se Jesus tropezo,
Porque el no habria de hacerlo?

(Bearing a cross on his shoulders for being the best,
for not selling himself never he was able to face
Peculiar weakness, if Jesus fell,
Why could he not too?)

La fama le presentó una blanca mujer
de misterioso sabor y prohibido placer,
deseo de sanar otra vez involucrando su vida.
Y es un partido que un día el Diego está por ganar...

(Fame presented him a white woman
of mysterious taste and prohibited pleasure,
I wish him to heal again referencing His life.
It’s a game that someday Diego is going to win…)

Maradona midfield goal

“No lo puedo creer!” (“I just can't believe it!”) shouts the Argentine announcer upon seeing Maradona score from midfield with a bomb straight into the net mere seconds after the whistle is blown.

Posted by Merry Swankster at 09:47 AM | Comments (5) | TrackBack

About Mog

Allow me to direct you to my other blog, where I talk about Mog, the newly-launched, automated music social-network Web site. The post is marketing-related, so I apologize in advance if it gets co-opted.

Posted by Keith O'Brien at 07:48 AM | Comments (0) | TrackBack

June 20, 2006

New Long Blondes Video, "Weekend Without Make Up"

I've taken it upon myself to be at the fore front of US blog reporting about UK pop group, the Long Blondes. Heroic, I know. So today, when Pitchfork dropped some not entirely new news about the LB's upcoming Rough Trade single, but with added tidbits about b-sides and iTunes availbility, I was not about to take it lying down. Luckily, they neglected to mention that a video for the new track, "Weekend Without Makeup" was completed and available for YouTubage.

the Long Blondes - "Weekend Without Makeup"

And not only that, but the clip was directed by Gina Birch, bassist for old-timey post punk crush band, the Raincoats. Exactly the sort of trainspotting morsel that you'd think the kids at the P-fork news desk would revel in, no?

Previously: Hey, Have I Mentioned the Long Blondes?

Tags: Long Blondes, Rough Trade Records, Pitchfork, the Raincoats

Posted by Jeff Klingman at 05:19 PM | Comments (0) | TrackBack

Good Shit from Ariel Pink and Matt Fishbeck

I was tempted to call this post "Holy Shit, Ariel Pink Records a Good Album!", but I deemed it too harsh. I mean, there's alot to like in Ariel Pink's homemade opuses, but usually even more to scratch your head over. On all of his records, you can find a handful of strong, classic pop songs (albeit buried under a layer of lo-fi guaze). But he's more likely to totally tank a strong melody with an unbearably goofy intrusion. Take "Every Night I Die at Miyagis" from the House Arrest LP released earlier this year. It starts fine with sun warped guitar and a chugging rythym, but just as you're convinced that you've unearthed another gem from the basement vaults, Pink comes on in a Borat-esque Eastern European accent and ruins the song by yelling about pussy. Why? Dunno? That's the problem. Sometimes it's an ill-timed falsetto, sometimes it's a crazy person rant, but it seems like the dude just can't help but sabotage a large percentage of the stuff he writes.

Enter Matt Fishbeck, former member of turn of the century alt band the Push Kings, and Pink's partner in crime for a new project called, cough, Holy Shit. Their debut record, Stranded at Two Harbors was recently released through Uunited Acoustic Record Company (not a typo). Ariel's trademark fuzzed out sound is still in full effect, but Fishbeck provides smoother, more emotionally direct vocals. More importantly, he also seems to serve as a needed editor. What sounds like a good idea, alone with a four track, might not fly when you have to perform it for a collaborator. While the album is still guilty of burying a few otherwise fine songs under a thick fog, there aren't too many moments of disruption that are unforgivable (given you've already made peace with the band name). Plus, there are some moments that are sublime.

Holy Shit - "Written All Over Your Face"

This song is excellent. Over a charmingly sloppy handclap, bass, and cymbal rhythym provided by AP, Matt gives a light as a feather, but instantly memorable vocal melody. The song glides gracefully along for it's first two minutes, surviving slight sonic tweaks here and there, before ending with a classic sounding indie rock coda reminiscent Teen Beat Records favorites (of mine anyway), Unrest. Ariel's work is often likened to an ancient AM radio broadcast due to the driving through a tunnel sound quality. Here, with most of that willful distance taken away, the comparison still stands, but more for the timelessness of the songwriting than any trouble you might have figuring out what you're listening to. Highly Recommended.

To buy Holy Shit's record, go here.

For those completely ignorant about the solo work of Mr. Pink, or those who just aren't blessed with a New York Noise quality video program, this Kate Bush lovin' clip is a nice place to start.

Ariel Pink's Haunted Graffitti -"For Kate I Wait"

Tags: Holy Shit, Ariel Pink, Matt Fishbeck, Push Kings

Posted by Jeff Klingman at 03:53 PM | Comments (2) | TrackBack

Yr Beg Yr Pardon Remindr

This is the last time I go for the easy vowel omission headline. Promise.

You know the score. Bands. Brownies. If you hang in there long enough, you will be rewarded with free beer.

MP3's for the fencesitters over at the Beg Yr. Pardon website.

Look for me, I'll be the guy you've never met.

Tags: Beg Yr Pardon, the Delancey, Takka Takka, Planes for Spaces, Telenovela Star, HIggins, Free Beer, parties

Posted by Jeff Klingman at 09:58 AM | Comments (0) | TrackBack

June 19, 2006

Re: Regina Spektor

Although I did not purchase Regina Spektor's latest folk-kitsch-cabaret romp Begin to Hope, I did notice something interesting.

The CD, at least at Williamsburg's own Sound Fix, contained an insert in a slim case containing another CD with the first six tracks from the album. Begin to Hope's instructions encouraged you to pass on that first side to a friend, in the hopes that he/she will enjoy being exposed to Ms. Spektor's powerful voice. Kudos to Sire Records for the novel marketing tactic.

Posted by Keith O'Brien at 03:09 PM | Comments (0) | TrackBack

Thom Yorke in the news

Thom is still moody and bothered by stuff. Sometimes I wonder how he stands himself. Look how sad he looks when told his ice cream is not organic and contains gen-modified products.

Ms. Bush at Radiohead is pretty funny though, considering the last album was Hail to the Thief. Wonder if Chealsea Clinton ever checked out a Ted Nugent show?

-Bush daughter attended Radiohead show in NYC

-"I'm an Environmental Hypocrite"

Tags: Thom Yorke, Radiohead, Bush Daughter

Posted by Merry Swankster at 03:06 PM | Comments (0) | TrackBack

Boy Least Likely To @ Fox Theatre, Boulder, CO 06.06.06

Boulder is a quintessential, pedestrian friendly college town. Colorful shops line the promenade on Pearl St. omitting the intrusion of strip-mall edifices giving the town that special feel that is often lacking in American cities. Street corners settled by assemblages of youths hint of the nearby ivory towers. Locals and proud alumni forever praise their “funky town” and pledge to “keep Boulder weird,” though not directly. Lobbying occurs via psychedelic bumper stickers. Boulder’s brethren can be found keeping it weird in Austin, Charlottesville, and Athens, GA. Did I mention the hippies?

Jof Owen

Peace, love and George Michael

Feeling particularly evil on the day of the beast I chose to balance out the morning puppy killings by driving to Boulder for the twee pop of Boy Least Likely To. Curious to see the live interpretation of music that is full of noisemaking with instruments culled from raids into the wacky music teacher’s stash, and words anchored in an innocent view of the world through childlike imagery, I really didn’t know what to expect. I walked away from the show in a manner that was unsettling – not disappointed, but personally unresolved by the simple fact that five people played the music that I have been enjoying all 2006 without even a guest appearance by cast members from Winnie the Pooh. I equate it to finding out that Santa was not real. Perceptions are a bitch.

Pete Hobbs

The decision to play the Fox theatre after college kids are let out for the summer is a curious one. I wondered how many people in the audience had recently graduated. Wondered if lyrics like “I got nothing to worry about, so I worry about nothing” hit home to the freshly unleashed adults. Wondered how many of them would ever ask “how did I get to be such a mess so soon in my life,” as Jof Owen so sweetly wondered aloud on “I See Spiders When I Close My Eyes.”

At times resembling a special kindergarten music class, the sound is decidedly on the softer side. If English high school is anything like the stereotypical American ones, I surmise that sensitive guys like this got beat up a lot. The new “Oddballs” introduction doesn’t help much, “This is a new song I wrote about people who aren’t very good at sport.” I don’t know, maybe they were the nice, funny guys that everyone liked.

So it goes in the world of the Boy Least Likely To, choosing to translate introspective thoughts into simple stories and pairing them with bells, recorders, banjos, instruments I won’t even try to identify and bubbles!

Oh they covered George Michael too.

//Boy Least Likely To - The Best Party Ever - buy

More pics, and setlist scan after the jump.

Tags: Boy Least Likely To, Boulder, Fox Theatre

Posted by Merry Swankster at 11:11 AM | Comments (0) | TrackBack

June 18, 2006

Summer's Sounds (on Sundays)

There's nothing quite like strolling to your local record shop to get exposed to something ethereal. And that's exactly what I got when ostensibly going to pick up Regina Spektor (neine, I will perhaps pick it up on my fourth try) and walking home with Asobi Seksu's second album Citrus.

The SoundFix descrip. focused on Cocteau Twins and My Bloody Valentine influences, but I'm more swayed by the Talulah Gosh similarities, the female twee pop milieu that evokes dandelion picking and open-fields running.

Yuki's voice jerks from playful to forceful to diffident (as well as English to Japanese) in verses, and the steady drumming, sliding, psychedelic guitar scales up and down, pausing for some Interpol riffs during the chorus ascension.

I will align with Insound and provide you with Thursday, the album's third song, a forceful melancholy track that follows a drumline and sparse guitar to a second-verse subtle explosion. Sublime.

Download: Thursday

More goods here.

Extra credit:

Inasmuch as we seem to discuss bands that receive a lot of blog hype, but who fail to register in magazines, I wish to highlight a band that gets its Time Out, Fader-like props (not literally, I'm merely saying I've seen them in traditional publications) that hasn't seen its share of blog love. I am referring to 60s-inspired Essex Green.

While I first gave EG a second listen after hearing Don't Know Why (You Stay), a simple, carefree track, I'm more tempted to put Cardinal Points up here, for its Stars meets Stereolab sound.

Download: Cardinal Points

Posted by Keith O'Brien at 05:28 PM | Comments (0) | TrackBack

June 16, 2006

the Prototypes @ Magnetic Field, Brooklyn. 06.13.2006

Photos by me, sorry.

Tuesday night, with the richer and better connected bloggers among us split between the impossible to get Manhattan axises of Sonic Youth and Radiohead, I drowned my troubles in three dollar beers at Magnetic Field in Brooklyn. On the bill were not un-blogged French, sorry, Freedom punks the Prototypes. Low cover price and general buzz had guided me to the show, but I definitely wasn't a full fledged fan going in. Widely posted mp3's of the band sounded alright, but left me with a touch of ennui, and the oh so Karen O cover art(View image) had me sharpening my snark "Oui Oui Oui's" comments, but I have to say, the band put on a really good show.

The opener, "Je Ne Te Connais Pas" ("I Don't Know You", if my high school French can be trusted), made clear immediately that my qulams with the posted material lay mainly in the production. On record, the Parisians fill out their energetic synth base with an indistinct guitar sound, that sometimes threatens to lower the material to run of the mill, peppy Jock Jam crunch. But live it came off as lively garage rock with the aesthetic benefit of the French tongue. The emphasis reversed itself, and the choppy guitar dominated, while the keys were used sparingly for embellishement. With rough edges unsanded the result was much more to my liking, if not terribly groundbreaking.

But what elevated the material, since my French is certainly not practised enough to detect any lyrical nuance, was the charismatic performance of front damselle, Isabelle Le Doussal. Cover art imitation aside, her stage presence was that of a confident, committed entertainer, and not some Gallic KO impersonation. To contrast, ILD was less overtly theatrical, but also less choreographed. She jumped and yelled in at the high energy moments, and gave a restrained vamp on the torch songs. "Gentlemen" (Isabelle: "You say jeentleman, I say jeentlemah") was a standout with more of a subtle pop sheen than the rest. Her quick switch from whisper (overlapping with also shushed bandmates) to full throated pounce during "06 60 92 92" was so effective that it not only blew past it's recorded counterpart, but demanded an explanation for why we get so few French language rock bands in general.

That answer might have been found in part with the low level turnout for the show. Sure, there were two high profile alternatives, and yes, it is tough to get kids to a show not located on the Lower East Side on a weeknight. But you'd think the flurry of posts would have a bit more sway, especially given the fact that both Gorilla vs. Bear and You Aint No Picasso gave away tickets to the show in advance contests. Discounting two pairs of lucky winners, bar staff, and band associates, the attendance could have been in the single digits. In the undocumented wilderness, my camera marked me, and I was strongly accused of being the Brooklyn Vegan.

To the band's credit, they played a gig worthy of a packed room. The open space allowed Isabelle room to stomp in front of the stage, and even spread out on top of the bar for effect. When they had finished, shouts of "Encore, Encore" came vigorously (if not overwhelmingly wittily) from the delighted few. After the show, given the kind performer to audience member ratio, me and my cohorts chatted with the lady of the hour briefly. She was very approachable, and I had no clue what she was saying. La nuit dans le nutshell.

A few more, worse than usual pics, after the jump.

Tags: the Prototypes, Karen O, France, Magnetic Field

Posted by Jeff Klingman at 01:15 PM | Comments (3) | TrackBack

June 15, 2006

Peter Crouch Robot Dance

Yesterday’s Deutschland centric posts coincided with the dramatic 1-0 World Cup win over Poland in extra time in a match that was perhaps the best yet in this young 2006 World Cup. The timely entries are not part of a massive blog-wing conspiracy or an attempt to brand any MS partisanship by Jeff. I swear.

To prove this I present one of the more awesome goal celebration dances by England’s 6’7” Peter Crouch. The gawkiest man in British football is famous for his robot dance after scoring. He unfortunately omitted the celebrated celebration after drilling a score deep into the Trinidad & Tobago net after heading the perfect cross from David Beckham. So no robot tonight on Sportscenter, but YouTube broadcasts a previous dance to electro pop like a robot from 1984:

Peter Crouch – Robot Dance

Previously: Retrokraut Day, Retrohump Day - Kraftwerk

Tags: World Cup, Peter Crouch, England, Robot Dance, Germany

Posted by Merry Swankster at 02:21 PM | Comments (0) | TrackBack

June 14, 2006

Retrokraut Day

Okay, the site's been around for a while now, we're picking up readers at a steady clip, and I feel like we've gotten to know each other pretty well. So, it's time that I divulged a bit of a dirty secret. You might want to sit down.

Alright, here goes...

Baby, I'm a big fan of German post punk and electro music from the early eighties.

Wait, come back. I know folks who lay that sort of thing on a reading audience are asking for an unseen wave of eye rolls. I'm well aware that Nick Hornby basically used "German influences" as shorthand for "pretentious tosser." But I wouldn't be pushing this stuff on you for obscure points if I didn't think that it was totally catchy, accessible music. I'm no fan of 12 minute dirges by Faust, trust me.

German youth reacted to the wake up call of punk rock like kids in most of the Western World did, by picking up instruments and going at it themselves. But with such a defining presence as Kraftwerk ruling the hip German consciousness, the instrument in question was just as likely to be a cheap synth as a starter guitar.

This stuff remains obscure primarily because it's in German, obviously. But I don't think it's helped by the fact that the folks who champion it have a superior attitude about the effort it took in tracking it down. So, I won't claim a crate digging expedition to Berlin. Most of this stuff I became aware of through two really cool compilations, the New Deutsch comp. from International Deejay Gigolos and the German Verschwende Deine Jugend (Waste Your Youth). DJ Hell, the ND compiler proves my point by making his only liner note the LCD Soundsystem quote "I hear that everyone you know is more relevant than everyone I know." I mean, how arrogant is that? Do you want people to learn about these artists or not?

I certainly do, and with Dirk's playoff heroics, the election of a sassy lady prime minister, and playing host to the global sporting world, it seems that Germany's time is now. Cheers.

Malaria! - "Your Turn to Run"

The best of the bunch, so if you don't like this one, then I don't know what to tell you. Well, I do, but I'm holding back on account of mixed company. Owners of the most concise all music entry ever ("Malaria was a group of five German women, together from 1981-1983" fin.) and a band name that sounds like the best musical never made, Malaria! is all cold attitude. The synths mix nicely with an off kilter guitar loop, and the occasional sax intrusion. But the broken English female vocal is the star. "I won't pay your price/ Your turn to run!" they all shout at the climax. Sounds like they mean it.

Funny story about this one, as I first heard it playing in Kim's Video on St. Marks in New York. Two or three record geeks, myself included, had an immediate Pavlovian responses and jerked our heads up from whatever obscure whatever we were looking at simultaneously. It was kick ass enough for the initial perk up to lead to a series of walks of shame towards the front desk to ask the name of the song we were currently in awe of. From the prominently placed "Now Playing" display I could see that it was the ...Jugend comp, but when I asked the clerk where to find it, he smugly replied "Oh, we don't sell it." Dick! See, this is what makes liking German music synonymous with being an asshole.

Grauzone - "Eisbar"

More guitar centric than the rest of the tracks, this one glides on a lazy melody, before yielding to a crunchy chorus paired with heart monitor bleeps. I have no idea what he's saying, but lets be honest, isn't that true of a good swath of the English language stuff we listen to?

Eiskalte Engel - "Kinder Aus Asbest"

From 1982, this one translates to "Children from Asbestos" and is I guess about fighting for healthy lungs? Whatever. What gets me is the switch from the straight up 80's pop in the beginning to the more overtly gloomy and Kraftwerk inspired chorus around the :45 second mark. Apparently, I've been singing along in German about the evils of outdated insulation. Who knew?

Gleitzeit - "Ich Komme Aus Der DDR"

Loosely translated, this songs title comes out to the hard to dipute, "We come from the German Democratic Republic." It's lyrics talk about how they are going to become millionaires and buy Germany. An appropriate daydream, since the music sounds so cheap. I say that not to disparage, but in admiration of how much the band rings out of such basic elements. Two synth lines layered over each other, shout spoken vocals. That's about it, but over the tracks five minutes the melody and countermelody trip over each other and give rise to multiple, inventive permeatations. Lady vocals come in later, changing the dynamic further, while still working within the narrow template nicely.

No More - "Suicide Commando"

From 1981, this English language single is more about the revered synth punk band Suicide than the act of self murder. While it's not hard to guess what it sounds like, it is more conventionally arranged and less confrontationally annoying than 90% of Rev and Vega's output. A spoon full of structure helps the bleak dissonance go down, I say.

Andreas Dorau & die Marinas - "Fred vom Jupiter"

For as immediately catchy and lovable as I find the aforementioned tracks, I can understand folks who might complain that they are still too stereotypically cold, harsh, and impersonal. For those hippies, our last entry lets the sunshine in. Sure it starts in the usual fashion, with throbbing synths, a robot drum click, and miscellaneous laser noises all accounted for. Once the chorus of girl voices come in though, it takes on a different mood. I mean they sound a bit bored, but there's a human warmth there. Once you get to the chorus, with it's simple sing-song melody, a smile is hard to supress. The punctuating handclaps are just sauerkraut on the pork knuckle.

Andreas Dorau scored some pop success on his own in later years, topping the Belgian charts as recently as 1998. That later success is probably the only reason that info about this, his first 1982 Euro hit, is available. Apparently, AD wrote it while still in high school, and handed it over to his lady friends to sing. Miraculously, there is a fuckin' You Tube, and it rules so hard:

Andreas Dorau & die Marinas - "Fred vom Jupiter"

Order New Deutsch here.

Order Verschwende Deine Jugend here.

Auf Weidersen.

Tags: Krautrock, Synth Punk, Malaria!, Grauzone, Eiskalte Engel, Gleitzeit, No More, Andreas Dorau & die Marinas, Germany

Posted by Jeff Klingman at 12:21 PM | Comments (0) | TrackBack