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October 31, 2008
Video: Love Is All - "Seasick" (Live Halloween version)
I realize that all of these Love Is All Halloween videos are merely a cynical ploy to get folks mentioning the new album out in early November, A Hundred Things Keep Me Up At Night. I realize that, and yet I proceed, because I love them so. "Seasick," a stompy tale of ennui aboard a Seniors' cruise, is even a bit scary if you extend the definition of the word a bit. I've been meaning to discuss it at length, and hope to soon, but this will do for now.
Posted by Jeff Klingman at 10:15 AM | Comments (0) | TrackBack
This is of No Practical Purpose Anymore, but...
...it's a more recent flyer, from the Beets! That's like my favorite ongoing comic strip.
I'll try to get on this before the show next time guys, I swear.
Posted by Jeff Klingman at 12:45 AM | Comments (0) | TrackBack
October 30, 2008
Secret Machines @ Bluebird, Denver 10.27.2008
[Photos by Merry Swankster]
[They are not lasers]
On Monday's listings I teased the Secret Machines new tour by mentioning the band's Es Devlin designed set. In person it looked like a cross between 3D trigonometry graphs and a pyschedelic mosquito net enclosure that you might consider upgrading too should you find yourself on an African safari. The stage plotting was an inescapable and prominent character of the show, one that both housed the group and also gifted a wealth of photographic capture opportunities given the cool angles it generated.
Built from what looked like an array of masking tape strips arranged in mathematically precise order, the unique furnishing provided a sheltering effect above, behind, and all around the band. An amazing frame like nothing I've ever seen before. This was constructivist art meeting the goals of its definition, in this case an enveloping nest for the Secret Machines (mix your Russian history metaphors as you wish). For those of you uninterested in art history research, or more specifically pre-USSR regime approved art, just know it looked shit-hot cool.
My enchantment with the piece can go on much longer than a standard review should, to say nothing of the dark psychedelia tones of the Secret Machines music. I was struck by how brilliant the pairing turned out with the awesome form presented, like a structural echo to the bending aural vision of the Secret Machine's bombastic music.
[Continued with more trippy photos and tourdates...]
"Atomic Heels" set the tone from the get-go. The first track from 2008's self titled release released all the signature sounds of the Secret Machines and even spiced in a few welcome crunchy distortion responses. Followed by the shrieking harmonies of "Nowhere Again" (from 2004 debut - Now Here Is Nowhere) the train continued railing along with the determination of an engineer hopped up on something speedy.
The 70s psychedelic sheen has always existed as a draw for this band, hooking in fans from the Pink Floyd set seemingly from their inception. I'm not interested in going there but its worth noting the Secret Machines often appear to exist somewhere in the no-mans middle ground of joyless funk and the suggestive evils of metal. They have a firm grasp on the sinister subversiveness that lies in the middle, and the theiving middle is the most fun anyway isn't it? Down with genre purity!
This tour proves that one should tread lightly when tempted with predispositions to write off modern shows as too standoffish; a warning against falling into the trap of underestimating the live experience and its inherent force against jadedness by serving what is not expected. In this case gratification was a buffet of flourishes by out-there design, but like any great art, this was something that will continue to evolve in your thoughts and imagination long after the last bit of sustain dissolves into silence.
Note: Es Devlin checked inspiration from the Russian sculptor Naum Gabo and a quick search of Google images explains the obscure reference. None more than this example.
Secret Machines: Tourdates
10-30 West Hollywood, CA - Keyclub *
11-01 Solana Beach, CA - Belly Up *
11-03 San Francisco, CA - The Independent *
11-05 Portland, OR - Berbati's *
11-06 Seattle, WA - Neumos *
11-07 Vancouver, BC - Richard's on Richards *
11-09 Calgary, AB - SAIT Polytechnic %
11-10 Saskatoon, SK - Louis' Pub %
11-11 Winnipeg, MB - Pyramid Cabaret %
11-14 London, ON - Call the Office %
11-15 Ottawa, ON - Babylon %
11-18 Williamsburg, Brooklyn - Music Hall of Wiliamsburg
* w/the Dears
% w/Small Sins
//Secret Machines - website
Posted by Merry Swankster at 05:00 PM | Comments (0) | TrackBack
Numerology: Fiddy Ocho
Even before I discovered that in Central American lore 58 signifies bad juju (something to do with 58 original sins) the number was already emitting perplexing vibes and wafting them my way. Fifty-eight (which is the sum of the first seven primes) presents a challenge even to the most seasoned seeker of numerically titled ditties. The fact that 58 is the name of the side project of Mötley Crüe bassist Nikki Sixx (their cover of “Alone Again (Naturally)” borders on a criminal act) supports my contention that 58 is inherently flawed. Whether you agree or not, it’s hard to argue that the offerings assembled herein comprise a pretty motley crew (I’m sure Nikki would agree.) Motliest by far is “Ronsard 58,” an early work by Gaullic sleaze hero Serge Gainsbourg that recently made it onto a Top 10 list of Serge’s most misogynistic songs (amid plenty of competition). Although unversed en Français, I was able to secure a rough translation of this vaguely jazzy Beat-poet blues number. The essence is that Serge is sweet-talking his latest female conquest with details of the riches lay that in store for her. Someday, he speak-sings between drags on his Gauloise, this unnamed young woman will have a life of leisure, with cars, boats, and houses. No longer, he assures her, will she be a “dirty little whore.” How romantic.
Serge Gainsbourg - "Ronsard 58"
To less salacious songwriters, 58 tends to mean 1958, and not necessarily in a good way. Frickley in South Yorkshire is a small mining town where, according to “Frickley 58” by Chumbawumba, “once the riot coppers beat the pickets to the ground.” But a football stadium has since been erected where the protesters were felled, and no one remembers the struggle. Songs like this never become hits. As proved by “Tubthumping,” the band’s lone smash, when people in a song get knocked down, it’s best for them to get back up again (and declare, “You’re never gonna keep me down!”) “Alabama ’58” by the Dubliners, another song about injustice, connects the intolerance of the American South to similar ugly chapters from the pages of history. Al Stewart, of “Year of the Cat” fame, is known for incorporating history and historical figures, including Warren G. Harding, Nostradamus, and Jean-Paul Marat, into his songs. His “Class of ‘58” is a cheeky look back at rock’s golden age, with the sharp-eyed observation that “One day they’ll make TV shows on ancient rock-and-rollers.” Although not quite ancient, the debut album by Chicago (released under the group’s original name, Chicago Transit Authority) featured the eight-minute, not at all poetic “Poem 58,” which was mainly a showcase for the hot licks of lead guitarist Terry Kath. Although best known for their radio-friendly hits of the ‘70s and ‘80s, Chicago was far more aggressive sounding on their early albums with Kath. But after he fatally shot himself with a gun he thought was unloaded, in 1978, Chicago’s lost its hard-rock edge and headed toward the extremely lucrative middle of the road.
In the fuzzed-out shoegazer scene of the early ‘90s, Kitchens of Distinction never got the recognition garnered by many of their compatriots, partly due to a preponderance of unapologetically gay-themed lyrics, but that didn’t stop Thom Yorke from citing the South London band as an influence on Radiohead. (Notable among other KOD-influenced bands are Interpol and the Editors.) Post-Kitchens, bandleader (and licensed physician) Patrick Fitzgerald has forged ahead as Stephen Hero, continuing his interest in widescreen atmospherics and showing a notable predilection for numerical titles with 2007’s 57 Stars of the Air Almanac and the song “58th Star.” This big minor-key ballad has a sweeping romanticism and shows Mr. Fitzgerald’s voice to be undiminished by time or the lack of breakout success, although comparing the object of his love to the heavens above, the planets, and the firmament does border on the bombastic.
Dave Matthews has a thing for numbers, but his “58” differs very little from his “34” and “41”—all tasteful lite-jazz instrumentals that would make a lovely soundtrack to a meeting with a sales rep over biscotti and java at a local Starbucks. “Let’s Start at 58th and Roosevelt” by P-Love wouldn’t raise any hackles among the coffee-and-laptop crowd either, but “58 Kilpatrick St.” by Boston punks the Blue Bloods would definitely not make it onto the play list—which is to its credit. This revved-up ode to the refusal to grow up and take responsibility features the piquant lines, “Well we smoked all your mother’s cigarettes/and we drank all your father’s beer/you’re 28 years old/and you still live downstairs/and the night will become day down there.” While we’re on the subject of post-punk, “Chevrolet ‘58” by Venezuelan surf rockers Los Mentas sounds a lot like the Clash’s version of “Brand New Cadillac,” right down to the stutter-stepping opening bars.
But you know what they say: you don’t have to be a weatherman to know that if the wind hasn’t hit 58 mph, you can’t issue a Severe Thunderstorm Warning. And while I can’t find a single song in Bob Dylan’s canon associated with 58, drawing a straight line from Dylan to Mott the Hoople, the star-crossed champs of 58, is pretty simple. Ian Hunter, Mott’s perennially shade-wearing front man, aped Dylan’s vocal style for the band’s first few records, which made a certain sense given his limited range and the jaded imagery of this former professional songwriter’s lyrics. Mott’s first few records sold poorly, despite the band’s well-earned reputation as a titanic live act. Even so, they possessed some of the coolest nomenclature in rock history. The audacious name Mott the Hoople (taken from a 1966 novel by Willard Manus) was bestowed by their first manager, Guy Stevens, the legendarily mad figure who also named Procol Harum and eventually produced the Clash’s London Calling. (Hoople means “hobo” or “buffoon.”) The band also boasted bassist Pete “Overend” Watts (his real name) and later added guitarist Ariel Bender (a replacement for Mick Ralphs, who went on to mega-stardom with Bad Company). Folks, you just don’t get names like that anymore. Yet the band struggled to translate their live energy into recordings. By early ’72, with the group at the point of collapse, Overend Watts contacted David Bowie looking for a bass-playing gig. Instead, Bowie offered up “All the Young Dudes” and produced the breakthrough LP of the same name. (Bowie first offered “Suffragette City,” but Hunter, who also wanted “Drive-In Saturday,” said it wasn’t good enough.) Under Bowie’s tutelage, Hunter dropped some of Dylan’s mannerisms, picked up a few of Bowie’s, and the band gained some much-needed studio skills. The Bowie infusion resulted in the resurgence of the band’s career, as well as one of the great singles of the rock era. But while Mott finally achieved a measure of rock ‘n’ roll glory, fame is fleeting, a theme explored in songs like “Ballad of Mott the Hoople.” Two years later, internecine squabbling led to Hunter’s departure, which leads us to “Born Late ’58,” a song that embodies this internal tension by the fact that it was recorded after Ian Hunter had already left the recording sessions for The Hoople, disgusted with the limited abilities of Ariel Bender.
“Born Late ‘58”—not to be confused with “Born in ‘58” by Iron Maiden lead shrieker Bruce Dickinson—is not an earthshaking song, but it has the signature glam boogie sound of classic Mott and proves that Watts was capable of singing a lot like Ian Hunter (something he would do a lot more of in the uninspired, mercifully brief post-Hunter incarnation of the band.) Eventually, Hunter returned to the studio to finish the album, and apparently approved of the song, in which Watts taunts a would-be suitor who is just a bit too long in tooth to bed the object of his affections:
Admit it, she’s greater, shame you weren’t born later.
Mott the Hoople - "Born Late '58"
A few final notes:
NOTED PERVERSE TWAT is an anagram for Pete Overend Watts.
“Plan 58” by Main Concept is German rap at its finest.
John Cage composed “Fifty-Eight” to be performed at the Landhausof, an Austrian structure with 58 archways.
At the 2:58 point in “Hey Jude,” John Lennon can be heard to mutter “fuckin’ hell” at his muffed vocal. I kid you not.
Numerology is our pal Dave's ill advised quest to find the definitive song for every number from one to a hundred. The higher the digit, the lonelier the climb.
Previously: No. 1, 2-4, , 4 (redux), 5-7, 7 (counterpoint), 8, 9, 10/11, 12/13. 13 (counterpoint), 14/15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26/27, 28 , 29 , 30, 30 (counterpoint), 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46 , 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, Footnotes, 57
Posted by David Klein at 08:30 AM | Comments (0) | TrackBack
October 29, 2008
Retrohump: The Philly Sound
If you have ever asked a musician to describe the Philly Sound you probably can recognize the confused look/ mouth agape struggle of someone trying to put into words something that is only clear to them between the ears. I never fully understood what was so hard to grasp, after all if you ask someone to talk about Chicago Blues they will immediately bring up an amplified sound with deep bass. If you asked to describe the sound of New Orleans you are thinking brass bands or Dixieland. So what is it about the Philly Sound that is too hard to put into words?
Perhaps one of the reasons the Philly Sound is so hard to describe is because it can sound down right ridiculous in words. For example Wikipedia describes the sound as a style of soul music with the faint sounds of a glockenspiel. If all that it took to make the Philly Sound was to lower the decibel level of James Brown and bring in weird German instruments then to create a perfect Philly record all you would have to do is mate The Simpsons characters Üter Zörker and Disco Stu and package it in plastic.
The truth might be that the Philly Sound is much more of a feel then a tangible musical quality. Sure you can describe a style of sound that utilizes funk riffs with a much smoother well produced texture, however, I would have to argue that there are more things then traditional “Glockenspiel Soul” that fall into the character of The Philly Sound. After-all somehow the Philly musical tradition has gone from John Coltrane to Hall & Oates and all the way to DJ Jazzy Jeff & The Fresh Prince.
If we are talking about The Philly Sound then we have to first take a look at The O’Jays. The group’s album Back Stabbers in 1972 defined the genre of Philly Soul and crowned Philadelphia International Records as kings of the sound. As we can see in “Love Train,” which went from being No. 1 to being the refrain in a Coors Light commercial, the first thing you have to do when making a song in The Philly Sound tradition is have all members of the group do smooth hand movements but be sure not to coordinate them together in any fashion.
The O'Jays- "Love Train"
Temple University has the honor of creating the bricks and mortar that allowed for Daryl Hall to meet John Oates. Though John Coltrane once practiced his scales at 1511 N. 33rd St., it is the creators of “Maneater” that hold the title for being one of the most successful acts ever to come out of The City of Brotherly Love (which is quite a coincidence since I’m convinced that John Oates will take a tire iron to Daryl Hall as soon as he renders his blonde locks useless).
Hall & Oates- "Private Eyes"
For some reason the duo of DJ Jazzy Jeff & The Fresh Prince seem to make a lot more sense after having watched 15 Hall & Oates videos. The song “I Think I Could Beat Mike Tyson” is a story of hope, persistence in the grasp of failure, and relentless claims of greatness, all themes that could be used to describe Philly in the first place.
DJ Jazzy Jeff & The Fresh Prince - "I Think I Could Beat Mike Tyson"
I know that I could spend many more hours delving into the deep historical pockets of The Philly Sound but unfortunately I have a 3 ½ inning baseball game to watch so I leave you with the soulful styling of the 1976 Phillies.
*Bonus- "Phillies Fever" -1976
Posted by Yonah Korngold at 03:30 PM | Comments (0) | TrackBack
October 28, 2008
The Sky Is Crying
Ever find yourself wondering in the first alarm clock moments whether the night before actually happened only to look down and find yourself still wearing your party clothes? The entire city of Philadelphia had that same feeling this morning only to be told that the night before was not only a reality but that it is still going on and technically can last ‘til Thursday. So it seems that the forces of nature that were scheming to cancel Saturday’s After the Jump Fest were also sitting at the same bar with the Baseball Gods. In my experience I have found that there is only one peace offering that can be presented to the powers that be that can turn the stormy green and yellow blotches on a Doppler radar into deep blues. So just in case any of the aforementioned Baseball Gods are also MS readers, I offer you a song that has proven to sound even better when in puddles with soaked socks (even if these puddles are collecting around 2nd base).
Elmore James- “The Sky Is Crying”
Posted by Yonah Korngold at 12:35 PM | Comments (0) | TrackBack
October 27, 2008
A Word From Me About Saturday's After the Jump Cancellation...
Hey folks. As you probably read elsewhere, the big outdoor Saturday show we'd been planning for weeks was a victim of cruel and fickle mother nature. We tried to swing it elsewhere last minute, but it fell through in the end. Hopefully, none of the MS faithful travelled out to deepest Bushwick at my urging, only to be gripped by a sudden wave of anxiety, that perhaps they were about to be murdered in an elaborate scheme to steal buckets of fancy iPods and new fangled phone devices. If any of you did, I owe you a hug, beer, or non-sensual backrub. For real.
Thanks though, to everyone who struggled against circumstance to try to get it off the ground, and especially to Todd P who nearly saved us.
The only consolation I can give to those disappointed (including myself) is that the amazing lineup we had planned will be the rule for After the Jump shows going forward, not the exception. Thanks to everyone who showed for our showcase at the Knitting Factory on Wednesday. It was totally great, and I'll have more to say about it soon. We're working on some future events as I type that will blow your socks off, and then pick them up politely and return them to you, only to then knock them out of your hands into the dirt and laugh. Serious business.
As for me, I'll try to treat this episode like the time the girl I had a crush on for years in my college French courses finally told me to meet her at a bar, but because a drunk I was friends with took a header into the pavement on the way there, I never made it. I.E., I'll get over it...slowly. I'll be aided by the fact that unlike the previous situation, all those great bands involved did not immediately start dating douchebags (as far as I know).
Sincerely,
Jeff Klingman
Posted by Jeff Klingman at 03:30 PM | TrackBack
Denver/Boulder: Shows this week | 10.27 - 11/2
[Secret Machines]
Something for everyone this week with a bevy of great bands coming through Colorado. Two Wu-Tang alums, a boatload of Halloween shows (Girl Talk should be off the chain), and TV On the Radio closing out the weekend, but first - Secret Machines and their famed light show tonight!
The Machines' stage setup was helmed by noted light artist and set designer Es Devlin, who had previously plotted Kanye West's stage for his "Touch the Sky" tour, Sally Potter's film version of "Carmen" and Philip Glass' opera "Orphee." As it turns out, she's a Secret Machines fan and was happy to work with the band's admittedly skimpy budget."I'd seen a set that she did for Wire at the Barbican, and was just like, 'Screw it, I'm going to e-mail her,'" said singer-bassist Brandon Curtis. "Rock bands are victims of their technology, and I really liked how she could re-frame to concept of a rock band."
In a statement, Devlin laid out the lighting specs as such:
The visual elements are a direct instinctive response to the qualities of the music. The band will be caught within a Naum Gabo-inspired romboid structure surfaced with gauze and punctuated with radiating tensioned cables which will catch the light in a more lyrical way than a pure saturated block of back light -- we might combine them and counterpoint them with pure blocks of back light too.
Which, in short, means it's probably going to absolutely fry your brain's pleasure centers. (via)
Monday, October 27
The Secret Machines/The Dears @ Bluebird Theater
Pierced Arrows @ Larimer Lounge
Jason Mraz @ Fillmore Auditorium
Missy Higgins @ Fox Theatre
Parts & Labor @ Hi-Dive
Terry Tempest Williams @ Boulder Theater
Ray Lamontagne @ Macky Auditorium
Tuesday, October 28
MSTRKRFT @ Ogden Theater
Torche @ Larimer Lounge
The Acorn/Shaky Hands @ Hi-Dive
The Felice Brothers @ Fox Theatre
Kids Like Us @ Marquis Theater
Missy Higgins/Joshua Radin @ Bluebird Theater
Wednesday, October 29
Method Man/Redman/Termanology @ Ogden Theater
Infected Mushroom @ Fox Theatre
David Sedaris @ Macky Auditorium
Motion Sickness @ Larimer Lounge
Devotchka @ Armstrong Hall (Colorado Springs)
Kamelot @ Bluebird Theater
Thursday, October 30
Jaguares @ Ogden Theater
Workhorse @ Larimer Lounge
Leftover Salmon @ Fillmore Auditorium
The Motet @ Fox Theatre
BigTime Entertainment Show @ Hi-Dive
Unroyal Blood @ Marquis Theater
The Faint @ Boulder Theater
Foma* @ Bluebird Theater
Jedi Mind Tricks @ Gothic Theatre
Experience Hendrix @ Paramount Theatre
Friday, October 31
Girl Talk @ Ogden Theater
Widowers @ Larimer Lounge
Leftover Salmon @ Fillmore Auditorium
Jedi Mind Tricks @ Fox Theatre
Monofog w/Hearts of Palm @ Hi-Dive
DeVotchKa @ Boulder Theater
Fear Before @ Marquis Theater
Electric Six @ Bluebird Theater
3OH!3 @ Gothic Theatre
ZZ Top @ Paramount Theatre
Ghostface Killah @ Vinyl
The Photo Atlas @ Walnut Room
Saturday, November 1
Eoto @ Ogden Theater
Joshua Novak w/Raining & Ok @ Larimer Lounge
Ozomatli @ Fox Theatre
d. biddle @ Hi-Dive
DeVotchKa @ Boulder Theater
Blackest of the Black Tour - Danzig @ Fillmore Auditorium
3OH!3 @ Gothic Theatre
Coles Whalen @ Walnut Room
Sunday, November 2
TV On The Radio/The Dirtbombs @ Ogden Theater
Ozomatli @ Fox Theatre
Copeland @ Marquis Theater
Saving Abel @ Bluebird Theater
BigTime Entertainment Show @ Hi-Dive
Grand Buffet @ Larimer Lounge
Ozomatli @ Fox Theatre
Savanna @ Soiled Dove
Schedule appears courtesy of Mystik Spiral.
Posted by Merry Swankster at 11:45 AM | Comments (0) | TrackBack
October 23, 2008
Out of context files: Jon Pareles on meta blogging
Chief music critic at The Gray Lady states the obvious:
At these CMJ shows there sometimes was as much documentation going on as partying, with audience members taking notes and constantly shooting digital images, probably destined for blogs on blogs. Even Gang Gang Dance, playing pulsating electronic dance beats topped with echoey vocals and glints of African and Caribbean music, had a hard time putting bodies into motion. On Tuesday afternoon Oxford Collapse, a Brooklyn band whose burly songs try to bridge post-punk and arena-rock, looked into its audience between songs and asked, “Anybody need time out to blog?” (via)
Endquote.
Previously from the files:
50 Cent no longer following US Election
Anita Baker is not a rapper
Indie crowds discover dancing
Shilling funds Honda, terrorism
Pitchfork prefers Britney to the Strokes
Kanye West is a professional
Black Eyed Peas head new socially aware Genre?
Posted by Merry Swankster at 04:41 PM | Comments (0) | TrackBack
A Place To Bury Strangers @ Larimer Lounge, Denver 10.08.2008
[Photos by Merry Swankster]
I wish I had a better reason why I'm just now getting to posting about this show. I considered using the excuse that it took this long to regain my sense of hearing and that without it, I couldn’t write about it. Not only is that beyond lame and a lie, such a position does not allow me the chance to properly thank my benevolent colleague’s sage advice regarding ear protection. A Place To Bury Strangers being the Loudest Band in New York and all.
Loud they were. Really loud. Meandering shoegaze amplified at such intense levels that the swirling sounds might as well been cascading waves blasting from the impressive array of massive Fender towers. Enough gear for a Fender boutique showroom, or more apropos, the band's stage set occupying a quiet corner of a non-descript downtown art gallery. Labeled with a small, homey posted sign that neatly spells out: “the Loudest Band in New York”.
A Place To Bury Strangers took the stage at midnight, which is a more likely reason than any on why this write up took so damn long. Hump day at midnight is a terrible time for information retention. My most vivid recollection was of an overpowering feel from the full assault of APTBS’s billowy noise. Not to get melodramatic, but it literally felt like I was getting blown away. Can obscene volume shift air patterns and produce sonic breezes? It sure seemed that way. Pairing the fierce soundscapes was a stunning yet simple visual element bathing the stage with a monochromatic checkerboard saturation of bright light. Deliberate enough to justify it as an illustrated metaphor for the at times ineffable arrangements.
These blinking lights were positioned a good distance from the stage and casted long shadows from audience members between them and the band. It was a cool and surely lo-fi method of increasing the striking vibe of the show. That said APTBS would befit the entrapments of a giant arena stage and the gargantuan demands of sound and light that would be accommodated in such a setting. Doubtful if their chosen genre can take them to such heights, but they all but demand bigger and better resources for their brutal show. To better crush audiences obviously, though in a good way of course. Fans of the loud stuff will love it. Count me in.
Before feasting on the photos, I wanted to tip my hat to the Larimer fans for the spirited encore callback. More "fuck yeahs” from Spicoli and Diamond Dave sounding dudes than I ever imagined possible - full throttle hollering appropriate given the circumstances.
They yelled, “One more!”, and were echoed sarcastically by “seventeen more!.” Ha.
Posted by Merry Swankster at 02:23 PM | Comments (0) | TrackBack
October 22, 2008
Tonight!
Inlets had to pull out due to illness, but everything else progresses as planned. The rad commmences at 8...
Posted by Jeff Klingman at 04:30 PM | Comments (0) | TrackBack
CMJ Jukebox: Starfucker
Continuing to shine a light on some of the lesser known acts on tonight's awesome three-stage circus of an After the Jump showcase, we now direct the beam towards Portland's crudely named art-poppers, Starfucker. I caught up with chief songwriter Josh Hodges as he attempted to carbo load at a Greek restaurant in Queens to prepare for roughly two point three gazillion CMJ shows scheduled for the next few days. He ducked into a back alley* to chat about a few of his favorite songs, and duck a super-serious Q about one of the band's own instant winners...
Deerhoof - "Kidz Are So Small"
Jeff K: Though Deerhoof are obviously respected as an active band, they're becoming an increasingly big influence on the next wave of bands coming up. What is it about them that inspires you?
Josh Hodges: Well, for one they are all incredible musicians, but that's not it. They're just really creative while still having an amazing pop sensibility. I always think of them as music for musicians. A lot of musicians I know don't like to listen to a wide range of bands. I'm kind of like that too, I have like four bands that I love. I'm rarely impressed, rarely find something new that I really love. But Deerhoof is the kind of thing any musician can listen to and think, "what the fuck was that? I never would have thought of that, that's amazing." That's how I feel anyway. Such pretty songs, such moving songs.
JK: If you hear a new Deerhoof song do you find yourself itching to record something?
JH: For me listening to them is like taking a class. I feel like I'm studying. The Flaming Lips are the same way, I'll just listen to the production and think, "Wow, how did they think to do that?" So the next time a do go to record, I'm thinking about how it was impressive to me, and how I'd like to make something that was also impressive to me, you know, if I didn't make it.
Why? - "Gemini (Birthday Song)"
JK: The second song you sent over was the Why song, "Gemini"...
JH: Yeah man, that song, that song just kills me. I just watched the video two days ago, I've heard that song a thousand times and I cried again. I can't not. The song is like the most romantic song I've ever heard.
JK: "Happy Birthday" is probably one of the most enduring songs of all time, even the Beatles failed to dethrone it. Do you think Why? beat it?
JH: Yeah, I guess. I didn't even know that was the name when I first heard it. To me, it seemed like such a personal song where he just nails so many things on the head. That guy, I think he's a genius. Definitely a wordsmith.
JK: The third song you chose was "My" by Okay...
JH: Yeah, another song that can make me cry.
JK: I wasn't actually familiar before you sent it over, but it struck me as falling into a big swath of "indie rock" that features pretty melodies sung by a somewhat imperfect voice. In general, do voices that are a bit imperfect hit you more than voices are unquestionably beautiful?
JH: No, I think Elliott Smith had a beautiful voice and I consider him one of the great modern songwriters. I don't know, it's not that I prefer one over the other. I like pretty vocals too. You just have what you have, and then when people make what they have work it's totally inspiring, you know? That guy's actually sick, which is why he probably sounds like that. I don't know that much about him but I know that he can't perform almost ever.
JK: Oh yeah?
JH: Yeah, he can't tour and stuff, he has some disease.
JK: Wow.
JH: So it's not like he's faking it, trying to make his voice sound that way...
JK: (sheepish) Oh, no, not at all.
JH: I definitely appreciate it when people are honest. I think honesty is one of the key ingredients in quality. It's undefinable, but that's how people in different genres, different artists, their experience comes through. I think that's what moves people.
JK: I getcha...
...and now on one of yours...
Starfucker - "Rawnald Gregory Erickson the Second"
JK: I think it's a great song. What appeals to me is that there both the very strong bassline rhythm to it, but also the really pretty floating melody. If you HAD to choose one, rhythm or melody, which one is more interesting to you when writing a song?
JH: Oh man, they're like different colors on the canvas. I dunno...
JK: It's a knife point question: rhythm or melody?
JH: I think they work together...
JK: Then which do you start with?
JH: Rhythm, I guess. The beat.
JK: Does the beat suggest a certain melody to you, or are there infinite melodies that can work for each?
JH: Multiple, definitely...
JK: So how do you know when it's right?
JH: I never know, man.
--
Starfucker hit the main stage at the Knitting Factory, tonight at 8 PM sharp.
--
*quite possibly with some roly-poly little bat-faced girl
Posted by Jeff Klingman at 08:55 AM | Comments (0) | TrackBack
Juliana Hatfield responds to nasty Internet comments
In you skipped over Monday's Denver show listings post from Monday, you may have not seen a really ugly comment alleging a plethora of disturbing acts attributed to Juliana Hatfield. It didn't take much but a quick Google search to see that similar comments could be found all over the Internet - in both blogs and online outposts of print outlets. Besides the hate speech and outrageous inference of Hatfield administered services, the only correlation was Juliana Hatfield's name appearing in the post or article body .
After brief deliberation we decided on removing the comment on the grounds that it was akin to the same uselessness that is spam, which until a more nefarious motive is announced, is what we can assume is driving this odd and disturbing behavior.
Whatever it is that is going on Juliana Hatfield is aware of the not-so funny business. The following item on her website's news section reveals:
PLEASE READ THIS:Someone purporting to be "Juliana Hatfield" is disseminating disturbing email messages, postings, and e-cards throughout the internet. Please ignore any and all unsolicited anti-Semitic, racist/fascist, or sexually perverted email or e-cards sent by "Juliana Hatfield." It's not coming from me.
If you are a victim of these messages, please copy, paste, and mail to admin@julianahatfield.com and we will forward it to the authorities working on this case.
Thank you.
Sincerely,
Juliana Hatfield [Juliana Hatfield]
Posted by Merry Swankster at 03:42 AM | Comments (2) | TrackBack
October 20, 2008
CMJ Spotlight: Bad Veins
So, I was all set to sit down and write a profile on Cincinnatti's Bad Veins. It would have been brief, yet full of information, and packed with performance clips and tiny flecks personal interest. It was gonna make you so psyched to catch them in the main Knitting Factory space this Wednesday, as part of After the Jump's ginormous, three-floor spectacular. Then I discovered that the Tripwire already did such a thing at the end of last year, but as some sort of new fangled web-talkie. Well, shoot...
Bad Veins hit the main stage around 9:30 or 10 (why pretend that these things are precise?).
Posted by Jeff Klingman at 10:45 PM | Comments (0) | TrackBack
CMJ Spotlight: Ringo Deathstarr
Ringo Deathstarr - "Untitled"
(live @ the Cake Shop, NYC, 09.04.2008)
Thanks to Joly Punkcast, we have footage of another act on After the Jump's Wednesday night Knitting Factory Tap Bar bill, Ringo Deathstarr. The Austin, TX band was apparently giving off such toxic waves of fuzz radiation that Joly's verite footage was irreparably marred, tinting it like a psychedelic Sabbath video! (ed. Thoroughly fact-checked.) To see what the band's volume will do to your gut, hit the Knit's mid-section around 12:30 AM, two nights from tonight.
Here's a profile from the kids' hometown newspaper that stays cowardly mum on the band's reality warping video effects.
Posted by Jeff Klingman at 07:00 PM | Comments (0) | TrackBack
CMJ Jukebox: Fight Bite
Most of the names on the just-posted flyer for this Saturday's ridiculously awesome End of CMJ show have been dominating the New York buzz circuit for a hot minute now. I'd been gushing about High Places and Crystal Stilts before I got them to play Neon Lights shows, even. So, I'll put a pin in touting the continued radness of known quantities, and take a second to get acquainted with Fight Bite, a Denton, TX, duo who've not yet appeared in the grubby environs of our most-frequented haunts. Of course, they are no stranger to the East Coast's digital embrace; Stereogum was an early claim jumper, and they occupied some real estate in last quarter's podcast. In advance of their physical arrival and opening set at the Yard on Saturday, I talked with Leanne and Jeff about some songs that hold consistent appeal for them, and the title track from their debut LP, Emerald Eyes. As you'll quickly notice, Leanne is acting as Fight Bite press secretary, though Jeff had dark, shadowy influence on the selection from behind the scenes.
Berlin - "Take My Breath Away"
Jeff K: It's hard for me to hear this one with new ears, after childhood Top Gun watching. Is this a long-held favorite, or a more recent epiphany?
Leanne: Top Gun came out when I was one so I must have become familiar with this song years later perhaps at the dentist office, grocery store, or crackling out of one of those speakers disguised awkwardly as a rock formation. I remember how the songs driving theme (executed on what sounds like a colossal Jew's harp) arrested me. what a melody! The drums and stunning vocals are what have sustained my affection for this epic ballad over the un-topgun-tainted years. I love shameless love songs.
Ellie Greenwich - "You Don't Know"
JK: This one is from that massive Girl Group Sounds Lost and Found box set that came out a few years back. Obviously that's a fantastic set, but it's pretty overwhelming. I had a hard time digesting all that material, let alone come to many conclusions about the girl group genre. Did you feel that way? What made this track stand out for you among so many?
L: The dynamism of this song is really what gives me chills. The vocal performance is never restrained while the music goes melodramatically from being austere and placated to boisterous and grand! The Girl Group era is one of my personal favorites and one that Jeff and I return to time and time again when arranging pieces. They're some of the sweetest and most satisfying songs I've found. And besides..life is too short and expensive to be underwhelmed by music.
the Carpenters - "Yesterday Once More"
JK: OK, so three in, and we've got a blatant female pop vocalist theme going. Do you think you're more influenced by bright, open-throated singing than by bands and singers who might use their vocals in more oblique, less intelligible ways? Would Karen Carpenter be wasted singing through haze on a 4AD record?
L: I'd give my left breast to hear more gifted vocalist "waste" their talent in such a way. They do something I can't with my mini mouse, asthma ridden voice, but the bottom line is that taste is more important than talent. Karen had both, arguably. The only time she fails to impress me is when i hear The Carpenters cover a song I love. I'll just say that This Mortal Coil's stunning rendition of 'Another Day' strikes me as very similar to Kate Bush and Peter Gabriel's performance of the same song (Kate Bush being a rather notoriously up front strong vocalist and the 4AD super group apparently favoring form over content). The execution differs in style and production but This Mortal Coil definitely ignoble this piece even if not every phrase is as legible.
...and on one of theirs...
JK: Is a vocal duet more like a conversation or a symphony? Do you want these voices to interact on an intellectual/emotional level, or purely as sounds in a mix?
L: "Emerald Eyes" was a real collaboration for us. Jeff composed the chord structure and i wrote the lyrics. Together we embellished the tune adding melodies and layers of percussion and strings. Jeff often refuses to sing so I came up with a fool proof plot to get his voice on the recording. How about a harmony? He couldn't refuse. The song is about a deceased close friend of mine I never got to say goodbye to. I have pictures and memories but i cannot for the life of me remember what color his eyes were. It's kind of therapeutic for me to imagine that i have the luxury of running into him mid song and us sharing some brief duet.
Posted by Jeff Klingman at 12:30 PM | Comments (0) | TrackBack
After the Jump Does CMJ Some More!
In addition to Wednesday's stellar Knitting Factory line up, ATJ will be hosting an all day show in the crisp fall air of Gowanus' Yard venue. It's pretty easily the best line up I've ever had a hand in putting together. For the cursive impaired, the schedule below:
Noon - Fight Bite
1 PM - High Places
2 PM- the Homosexuals
3 PM - Women
4 PM - Bearsuit
5 PM - Miles Benjamin Anthony Robinson
6 PM - Passion Pit
7 PM - the Ruby Suns
8 PM - Crystal Stilts
Come early, stay late, bring a sweater.
Check out a big mess of other stuff going on at CMJ this week, here.
Posted by Jeff Klingman at 11:00 AM | Comments (0) | TrackBack
Denver/Boulder: Shows this week | 10.20 - 10.26
[Kool Keith]
Monday, October 20
Apocalyptica @ Ogden Theater
Cobra Starship @ Gothic Theatre
The Faceless @ Marquis Theater
Matthew Sweet @ Fox Theatre
The Notwist @ Bluebird Theater
Sara Bareilles @ Paramount Theatre
This Is Not A Reading @ Larimer Lounge
Yael Naim @ Boulder Theater
Tuesday, October 21
Against Me!/Ted Leo And The Pharmacists @ Gothic Theatre
The Alternate Routes @ Walnut Room
Burton Premier @ Ogden Theater
Joe Jackson @ Boulder Theater
Keith Murray's 'True Artistry' Tour @ Fox Theatre
Legendary Pink Dots @ Bluebird Theater
Maylene And The Sons Of Disaster @ Marquis Theater
The Roots @ Fillmore Auditorium
Wednesday, October 22
The Black Angels @ Fox Theatre
The High Dials @ Hi-Dive
MEST @ Bluebird Theater
Quintron And Miss Pussycat @ Larimer Lounge
Thursday, October 23
(die) Pilot @ Hi-Dive
Bob Schneider @ Bluebird Theater
Chuck Ragan @ Marquis Theater
Darius Rucker @ Soiled Dove
Good Housekeeping @ Larimer Lounge
Jolie Holland @ Boulder Theater
Kings Of Leon/We Are Scientists @ Fillmore Auditorium
Los Enanitos Verdes @ Gothic Theatre
Tea Leaf Green @ Fox Theatre
Friday, October 24
Asobi Seksu @ Hi-Dive
Bob Schneider @ Fox Theatre
Dysdera @ Larimer Lounge
Four Year Strong @ Marquis Theater
Halloween Metal Fest @ Gothic Theatre
Lords Of Fuzz @ Soiled Dove
Rocky Mountain Grateful Dead Revue @ Boulder Theater
Tea Leaf Green @ Bluebird Theater
Yelle @ Ogden Theater
Saturday, October 25
Boombox @ Fox Theatre
The Expendables @ Gothic Theatre
The Little Ones @ Hi-Dive
Maxwell @ Paramount Theatre
Oakhurst @ Walnut Room
Only Thunder CD Release @ Larimer Lounge
Tea Leaf Green @ Bluebird Theater
The Veer Union @ Marquis Theater
Sunday, October 26
The Academy Is... @ Ogden Theater
Chris Voth @ Soiled Dove
GIMME A SHOT! @ Walnut Room
Kool Keith @ Fox Theatre
Norma Jean @ Gothic Theatre
Sonny Landreth/Juliana Hatfield @ Boulder Theater (E-Town)
Utah County Swillers @ Larimer Lounge
Schedule appears courtesy of Mystik Spiral.
Posted by Merry Swankster at 09:58 AM | Comments (6) | TrackBack
October 19, 2008
Review: Of Montreal, Roseland Ballroom, October 10
Things you ask yourself at a Of Montreal show: Is that a live horse? Are those John McCain masks? And so on, and so forth.
Kevin Barnes is not one for modesty, and, in a "scene" where disaffection is hard currency, it's refreshing to see someone bring the pomp. This was musical theatre, and the spectacle surely had even the most jaded appreciative of the effort.
But it would be all for not if the music wasn't similarly worthwhile. And it was. Barnes and his bandmates perfectly marry hard rock leanings with a dramatic, musical theatre foundation. While much of the group's work features falsetto and precious touches, one can easily imagine Barnes, as teenager, blasting Metallica and Suicidal Tendencies, et. al. (witness the encore performance of "Smells Like Teen Spirit").
The show ran through most of 2008's Skeletal Lamping, including the standout tracks "Gallery Piece" and "And I've Seen A Bloody Shadow" (really I could have just picked two songs at random - there are too many standout tracks on that album). Past hits included "Wraith Pinned to the Mist" and "Gronlandic Edit" - no "Suffer For Fashion", alas.
The aforementioned "Smells Like Teen Spirit" capped a great night.
Posted by Keith O'Brien at 12:51 PM | Comments (0) | TrackBack
October 18, 2008
CMJ Spotlight: Muggabears
the Muggabears - "Dead Kid Kicks"
(live @ Piano's, Manhattan, 05.2007)
From Stereoactive NYC last year, a video of the Muggabears' meanest ahead of their Old Office anchoring set next Wednesday the 22nd at the Knitting Factory in Manhattan. Nothing like a little broken guitar grandeur to cap an evening. They'll likely go on around 12:30 AM.
the Muggabears - "Dead Kid Kicks"
For a full litany of previous Muggas mentions, including old hype in the run up to their awesome Neon Lights cameo, go here, here, here, or perhaps even here.
Posted by Jeff Klingman at 04:15 PM | Comments (0) | TrackBack
October 17, 2008
CMJ Spotlight: Juvelen
Juvelen - "Don't Mess"
(Live on Frida 21:00, Swedish TV)
Most of the acts playing at the Knitting Factory next Wednesday will rock you in some fashion or another, but only Swedish idol Juvelen is ready and willing to sex you up. I normally prefer my Scandinavian pop tarts with a few more lady parts, but I will admit that the Swede TV clip above makes me a feel a bit conflicted. Come 12:30 in the main space, things might get a little weird.
Posted by Jeff Klingman at 09:57 PM | Comments (0) | TrackBack
CMJ Spotlight: Best Friends Forever
It's going to be pretty impossible to profile every band playing After the Jump's CMJ week events in-depth. There's just too much goodness to go around. Luckily, readers of this site are well-informed regarding the merits of many of these bands already. Just taking the Tap Bar for example, I shouldn't have to tell you again about the specific radness of the Pains of Being Pure at Heart, My Teenage Stride, or A Sunny Day in Glasgow. That quality has been sufficiently parsed. So I dedicate this space towards the lesser-known Best Friends Forever, a group so Minnesota OG that their MySpace influences are limited to Prince, Dylan, and Soul Asylum's Dave Pirner (perhaps the members of the Replacements have personally offended them in some way?). The BFFs in question, Bri Smith and Jes Seamans, sound giddy in love with everything in their songs: life, guitar licks, each other, boys, playing keyboards, presidential history, you name it. Below are a couple shiny apples from a bushel of songs sure to swimmingly kick off next Wednesday evening .
Best Friends Forever - "Twins in Love"
"Oh, I don't know you, maybe that's why I think your the perfect person. I can fill in the gaps anyway I want to, and spend my time dreaming of the fake you."
Now, it's been quite a while since I've been out on the dating scene, but from what I remember, the first lines of "Twins in Love" are damn apt. Everyone disappoints eventually, but this track captures the heart skipping first blush quite well. The combination of playfully earnest lyrics, deceptively rocking guitar work, and a mind-sticking "Oh-oh-oh" chorus is swell.
Best Friends Forever - "My Head in Front of Your Head" (live on 89.3)
This summer I talked about my discovery of BFF's ode to that eminently respectable Republican Dwight D. Eisenhower, and here they are crushing hard on that party's finest representative (no, not Reagan). The girl's make it clear that they aren't in it for Abe's position of power, but rather his rakish charm. "I know you were an unhappy man, funereal, they say..." is the clever in to a happy faced narrative of what Lincoln might have enjoyed in the loving embrace of one (or both?) of our heroines. Dancing, Shakespeare reciting, hair combing, it would have been a hoot, and they even promise to have thwarted JW Booth as a capper. All of this might again be a touch precious if it wasn't for that nagging little ear worm guitar riff that starts the song off and keeps it moving throughout.
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Best Friends Forever play at 8 sharp on Wednesday, October 22nd kicking off a seriously stacked Tap Bar lineup at the Knitting Factory. It's worth resisting your shattered CMJ attention span to come early and stay late.
Posted by Jeff Klingman at 01:30 PM | Comments (0) | TrackBack
October 16, 2008
After the Jump Does CMJ
So I've been going quietly mad these past couple months, planning away behind the scenes for After the Jump's involvement in next week's whirlwind of activity surrounding this year's CMJ Music Marathon. Now, with a buffet of options already in front of NYC's concert-going rabble, I offer you a deliciously overstuffed pot pie. Absorb the lovely pulp poster for now, I'll hit you with another, even more delectable, bit of announcement quite soon, and I'll go apeshit over the details for both for a week solid. Deal?
Posted by Jeff Klingman at 11:15 AM | Comments (1) | TrackBack
October 15, 2008
Retrohump: Headlong into the Fall
This morning, I had one of those moments that I can only attribute to gentrified urban areas, full of very old walls, housing relatively new inhabitants. Bleeding through the ceiling were the unmistakably taunting lurches of the Fall's "Eat Y'self Fitter." In college, notes heard through osmosis were often a source of alienation. But here, in Williamsburg they are mostly culturally affirming, maybe a bit too much so. Because that is a track that almost demands cult confinement--15 pounds of crazy in a 5 pound sack. Or 15 minutes of crazy in a 7 minute song, as it were. As a rallying point for heart-warming connection, it just seems surreal.
the Fall - "Eat Y'self Fitter"
I scoured You Tube for Mark E. Smith's grim visage barking his immortal lines, "What's a computer? Eat yourself fitter!" As his initial question suggests, there were no easy to download digital hand cams at the time of its recording, and no live footage could be found. But, I flipped through the Fall pages anyway, and the clips below are what I snatched.
the Fall - "Totally Wired"
(live in New York, 1981)
The boys are super tight, poorly lit, and more than a little sassy in this early 80s performance. Perhaps it's the dimness but Mark looks almost collegiate, as opposed to actively decaying. The music moves along at a sustained pummel. While I certainly have no doubt that our singer is, in fact, totally wired, he's also pretty sarcastic, which is a nice mix.
the Fall - "I Am Damo Suzuki"
(live @ the Hacienda, Manchester, UK, 10.09.1985)
OK, so let's get reeeeaal dark for a sec. This tribute to Can's feral child singer aims toward that band's thicker psych moments. "I Am Damo Suzuki!" Mark squeals, without actually attempting imitation. They seem like kindred spirits, though disheveled in separate ways, and probably similarly unpleasant to share an elevator alone with.
the Fall - "Victoria"
(Kinks cover)
Having never actually made through the Fall catalog to The Frenz Experiment, I was unaware that the band had ever covered a favorite Kinks' song of mine. Surprisingly, Smith's throbbing bile duct doesn't leak too much into the Davies' sly lyric sheet. The video is completely ridiculous. Victorian activities such as opera watchin' and fancy cake eatin' are begrudgingly attended to by a costumed Mark (his dental hygiene is era accurate!). But the real action comes in a thrilling soccer break down sequence, featuring ball fakes the likes of which you've never seen!
Posted by Jeff Klingman at 11:59 PM | Comments (0) | TrackBack
R.I.P. Neal Hefti and Alton Ellis
Choose one (and only one) of the following: Would you rather be a "one-hit wonder", forever linked to a single musical piece, but in a manner that the name of the song is decidedly more well-known than yours is; or would you rather have a career producing music that flies mostly under the radar but is highly respected within your particular genre? For the purposes of this exercise, you may choose only one of the aforementioned answers. Neal Hefti and Alton Ellis, however, selected both. This past weekend, these two lesser known but well regarded musicians shed this mortal coil, leaving behind legacies as one hit wonders that actually belie long and influential careers.
Neal Hefti (1922-2008) played trumpet and composed for the likes of Count Bessie, Steve Allen, Harry James and Woody Herman. His scored a number of films that deserve immediate induction into the Awesome Movie Title Hall of Fame: Sex and the Single Girl; How to Murder Your Wife; Lord Love a Duck; Barefoot in the Park; The Odd Couple; Last of the Red Hot Lovers; and Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feelin' So Sad: A Pseudoclassical Tragifarce in a Bastard French Tradition. An ample resume for sure, but Hefti is best known, or more appropriately, his best known work, remains the original, '60s TV show version of "Batman Theme".
For many casual listeners, the bulk of classic Jamaican music is limited to a few prominent artist/genre pairs: Dekker/ska, Marley/reggae, Perry/dub*. Fitting in between the first two names on this list would be Anton Ellis (1938-2008), "the Godfather of Rocksteady." While his signature genre never reached the success outside his native land that the preceding ska and following reggae achieved, Ellis's legacy consists of at least one absolute gem of a pop song: "I'm Still in Love with You".
*This is not to say that these names represent the totality of Jamaican musical styles; rather these pairs are the most commonly named artists in a recent (and completely anecdotal) survey on the matter.
Posted by Randall Monty at 10:56 PM | Comments (0) | TrackBack
October 14, 2008
Personal Note
Hey, I obliquely mentioned this in the midst of that Stereolab write up, but I've been writing record reviews for the L Magazine for a couple months now. It never actually occurred to me to mention it earlier. But in case your interest was piqued here are links for all the ones that have been published so far. On the stands tomorrow will be a few lines on those swell Memory Cassette EPs so look out for that as well.
Previously published reviews:
- the Fiery Furnaces - Remember
- Jaguar Love - Take Me to the Sea
- Horse Feathers - House With No Home
- Passion Pit - Chunk of Change EP
- Jay Reatard - Matador Singles 08
Posted by Jeff Klingman at 10:00 PM | Comments (0) | TrackBack
Monolith photos unearthed!
[Tunde Adebimpe of TVOTR] - All Photos by Chip Diffendaffer
The server pooch ate them. We slaved for days putting them back together after a lengthy battle with parasitic nanobots...ah screw this. More of Chip's Monolith photos.
Previously:
Monolith: Day 1 | 09.13.08: 1, 2
[CSS's Lovefoxx]
TV On the Radio
Justice
Akron/Family
CSS
//Chip can be contacted via email - chip.diffendaffer @ jetfiredesign.com.
//Chip Diffendaffer @ Flickr
Posted by Merry Swankster at 02:13 AM | Comments (0) | TrackBack
October 13, 2008
Stereolab, live @ the Fillmore, Manhattan, 10.02.2008
photos by Devon Banks
Update: The whole set can be downloaded from nyctaper. A few tracks are scattered throughout here, but please, grab the whole set over there, and support Stereolab on tour...
Stereolab are one of the last true iconic bands of the 90s alternative that are still alive and thriving. And while continually productive eighteen-year career in the music business is nothing to diminish, theirs seems less surprising than others might. There's something about the band that seems constant--a continuous wavy line emanating from a single starting point, decades ago. It's not so much that the music all sounds the same, though that's the knock on their records that you hear most often. It's more that their music has such a specific aesthetic that it can absorb exterior elements without ever sounding fully transformed. There's a steady rhythm, floating keys, maybe a few keys guitar repetitions, and those lovely, unknowable rosewater vocals. If the songs themselves span a huge gap from frothy 60s bossanova to intense krautrock, they always seem contained by an innate Stereolab-ness that's hard to quantify. For US fans, the predominantly French lyrics are a big part of the mystique. Stereolab tracks can't generally be shorthanded as "the one about..." anything in particular. "The one with the pretty, cascading female vocals" is also less than helpful. When you put on a Stereolab record, there's just this pulsing sound, this driving beat, stretching in to perpetuity. It's almost a mood made manifest rather than a single-serving idea you can put a pin in and file away. As a result, of all the bands I'd listened to consistently over a long period in my life, they were probably the one who I've granted the least defined mental image. All I get when I close my eyes is a striking French lass cruising on a magic carpet.
Entering the ex-Irving Plaza over a week ago, to see Lætitia Sadler bathed in soft light, surrounded by aging musos, seemed a bit too masculine, a tough too literal. The records seem so female, in temperament and texture. On first glimpse, it seemed impossible that Lætitia could exude enough estrogen to make it seem right. The absence of the late Mary Hansen seems huge in person, even if her high backing vocals were ably handled by some young eunuch of a man. But once they started playing in earnest, the mood was as instantly set as it always is. We were Left Bank revolutionaries one and all, taking a time out form rabble rousing to enjoy a fanciful cocktail of some kind. But there was an edge (we could be infiltrated at any moment, and forced to instantaneously rock out!). Also, the show answered a question I myself posed in a