music

216 posts

Flashback Friday: Big Hair Edition

These were decidedly not heady times for music. It was pop crap wrapped in leather jackets, cut-up jeans, and topped off with Aqua net fueled hair. We should be ashamed of ourselves, really. But we aren’t. We were young and stupid and the higher the hair, the closer to (rock) Gods.

Someone who should be ashamed of himself is Brett Michaels. Ditch the bandana, dude. You’re not fooling anyone.

How many guys lost their virginity to this video? And by lost their virginity, I don’t mean with another person. No matter where she is now, Tawny Kitaen will forever be the “hot chick from the Whitesnake video.”

American Idol Recap: There’s Not Enough Room in This Motown for the Both of Us – UPDATED

Gather round, chickens and I will tell you of the time that the Idols were handed the iconic music of Motown. Motown is some of the most singable music and yet, there are definitely some tracks of tears from the Idol stage all the way back to Hitsville, U.S.A. from some of our hopefuls. We are down to eleven, which means that not only will one unlucky Idolette will get the boot from the show tomorrow, but also from the tour and the planet. We all knew that this was going to be the equivalent of the triple jump at the Olympics for our Country Crooner, but for the rest of them, this should be easy, breezy cover band, right? Let’s just see about that.

The Good:

Thia Megia brought on a “Heat Wave” worthy of the Arizona summer. The youngin’ made it hotter than The Old Lady’s crotch in that Cache jumpsuit. Her rich tone and youth was perfectly suited for this Martha and the Vandellas ditty. Too bad it seemed like a magician cut her body in three because her head, torso and legs seemed to be separate from each other. All in all, Pochahontas redeemed herself.

That little Southern firecracker Lauren just keeps on hanging on. She is so very Kelly Clarkson that it is uncanny, even at this stage in the game. Her raspy voice and sassafrass did The Supremes well and she looked cute, too.

Jacob sang a duet with himself which is perfect on so many levels. Does he really need anyone else when he is making so much love to the audience and his own voice. You just can’t sing a DUET with your ego. I discovered, however, after watching for the show for the second time (yes, this is what I do for you, chickens. I watch the show twice to make sure there’s something I don’t miss), that if you don’t watch Jacob, he sounds better. So, after my initial angry typing of HATE HATE HATE, if you just listen to him and block out all the bunny impressions, he did well.

We knew this was going to happen but why oh why oh WHY did Country Crooner Edward E. Newman take on Stevie Wonder? I need brain bleach. It’s not that it was bad, but it made me want to cry because only Stevie should be able to “For Once in My Life.” I think they are going to make single out of that song and I bet it will do really well. Because he’s an American. A real American. Anyone want to bet me that it will be a certain Alaskan politician’s campaign song on 2012?

It pains me, PAINS me to put Paul McCreepster in on this side of the dividing line but he didn’t make me grab my rape whistle. He (thankfully) stood in one place and strummed his gee-tar and sang well enough. So there you go.

The Unacceptable:

Fozzie Wozzie is no Joe Cocker. Fozzie Wozzie was terrible – shocker! Fozzie is mad about something. Maybe it was all that Teen Spirit he was smelling last week. He scrunted “I Heard It Through the Grapevine” while performing that perilous trick of singing and walking at the same time. Not only did he look like a chicken searching for food, he sounded like he was being chased by the farmer at dinner time. Fozzie Galifianakis is too big for his beard. Time to knock him down a few pegs.

Did Stephano screw up the words colossally or did someone actually choose that arrangement? Lionel Richie should be rolling over in his grave. Don’t tell me he’s alive because he died last night hearing that jumble of words that was once his song. We really need to re-visit this video. It’s just the funniest, oddest concept. He’s a professor stalking his student – his blind student – and he asks “is it me you’re looking for?”

But I digress. Stefano, dear, you’re in trouble.

The thing about that girl you never liked in high school is that there really isn’t one thing you can point to that makes you dislike her. Well, except that time she made a play for your boyfriend. It seems that she just tries too hard all the time. All the time. And she made The Old Lady start screeching in her seat. Was Simon under there somewhere?

You know what’s not fair? Idol. You can be on top one week, and the bottom the next. I told Pia. I told her not to do this. She sang well enough but zzzzzzzzzzzzzzzz. Yes, it was so Miss America – so pretty, so perfect. Too perfect. Better pick up the pace, picante.

That’s it. No more chances for African Earth Mother Naima. She tries to hard to be different and tonight was just silliness. She finally sang mostly on key but then she went and felt the need to really “connect to her ancestors” so she threw in some African dance. Um yeah no. Miss Ross never did that and neither should you, Naima.

Overgrown Baby Gay Kurt apparently thinks that “Living for the City” is a song about a man named Stefan who reviews the club scene for tourists visiting New York. Well, New York’s hottest club is called NO. It has Lambasters (Adam Lambert impersonators), screeching Seacretins, and babies wearing chain-covered leather jackets dancing on the bar. It’s not a place anyone should visit.

Me too, Paula. Me too.

Bottom Three: Hailey (her name is written on one of the seats), Stephano, Naima.

UPDATE: So America put Thia, Stefano and Casey in the bottom three. Each deserving of it (despite my blind spot with Thia). Casey was going home until enough bleeped out moments lead to him being saved by the judges and then more bleeped out moments followed. Good job, Idol. Congrats, America. This is your 2011 Taylor Hicks.

1998: My Life in Music

1998 was a pretty great year. I got my first car (a seafoam green ’93 Pontiac LeMans), I had stopped going through “the change” and I performed with the Minneapolis Pops Orchestra for the first time. Looking back on it, it was a great year in music as well – rocking out to intergalactic on the way to parties; smoking herb with a little Marcy Playground in the background…

My First Car - I added the KOSS CD player myself

Below are my most-listened to songs that year – a veritable trip down memory lane. Please share any seminal years in your life and the music associated in the comments!

  • Marcy Playground – Sex and Candy: The one-hit wonder of 1998. A Minneapolis band, I lived next to Marcy Playground in College
  • Eve 6 – Inside Out: Not much to say about this one, I just couldn’t get away from it.
  • Semisonic – Closing Time: Another Minnesota band – how many times did you hear this at the bar at 2 am?
  • Liz Phair – Polyester Bride: The theme song for our AP US History class –  I’m not quite sure why. I think we all thought we were cool and indie by listening to Liz Phair. Many of my friends that liked this song later moved into the McKibbin Lofts in Williamsburg, go figure.
  • Natalie Imbruglia – Torn: I washed dishes on Sundays at a restaurant and this was always on Casey Kasem’s top 40 countdown
  • Air – Sexy Boy:We listened to this in French IV all the time because it’s a French band and we didn’t want to do any actual schoolwork
  • Madonna – Ray of Light: Bitchin’ song, bitchin’ video – showed everyone that Madge still had it goin’ on after Britney and all the other sluts starting to make the rounds
  • Massive Attack – Angel:I heard it BEFORE it was in The Matrix – which by the way was the first DVD I ever watched
  • Garbage – Paranoid: My uncle went to high school with Butch Vig, so I got to go backstage at the “Zone for the holidays” concert with Garbage, Beck, Semisonic, Soul Coughing, and Goo Goo Dolls. Pretty sweet!
  • The Smashing Pumpkins – Ava Adore: Billy Corgan as a young Uncle Fester
  • Hole – Celebrity Skin: Courtney is a train-wreck, but this album was the tits – maybe because Billy Corgan wrote it?
  • Soul Coughing – Circles: Wasn’t this in a VW ad?
  • Cake – Never There: My parents were pretty “with it” (I stole my first Beck album from them) but they never quite got the appeal of Cake
  • Fatboy Slim – Praise You: This song wore out its welcome after about 3 weeks
  • New Radicals – You Get What You Give: I had this album – I thought the guy on the cover with the big floppy hat looked pretty cool
  • Alanis Morissette – Thank You: No – Thank You, Alanis!
  • Beastie Boys – Intergalactic: The manager at the restaurant I worked at got me this album for my 16th birthday. Thanks, Theresa!
  • Third Eye Blind – Jumper: One of many great songs on this album

There you have it – my life in music for the year 1998.

Six Bands That Should Have Been “Bigger”

If you’re a serious music fan, you likely have a few — or more than a few — bands or artists where you’d love to see them receive more attention beyond the small hive of fans. While listening to some music last night, I thought about some of my favorite bands that fit in this category.

Now, my definition of “bigger” doesn’t necessarily mean a band gets so huge they can only play arenas. Instead, it’s more along the lines of “here are some bands that I really love where it would have been great to have at least one other person know who they were…” Of course, some of you may know all of these bands, but if you don’t, consider it an opportunity to check them out and toss a few bucks their way by purchasing their music.

Last, but not least, you’ll probably notice my picks are pretty much a rock music sausage fest. Simple reason for this: I love boys with guitars.

Failure
Just about everyone in this band has gone on to be in a band you probably have heard of — Queens of the Stone Age, Guns ‘N’ Roses, or starting side projects with members of TOOL — yet Failure didn’t really receive a lot of attention. Perhaps it’s a matter of a band being in the wrong place at the wrong time, but their shoegazey sound with sweeping melodies should have been heard by many more people. (Song Recommendation: “Stuck on You“)

The Afghan Whigs
Of course, I have to include my all-time favorite band on this list. Despite being around for over a decade and touring like madmen, The Afghan Whigs’ music — part old-school R&B, part rock, and all swagger — seemed to remain on the perimeter of getting a bigger audience and moving beyond the “critically-acclaimed” label. (Song Recommendation: “Going to Town“)

Superdrag
Chances are you may have heard “Sucked Out” in the 90s on MTV, but there is so much more power-pop goodness from this Knoxville, Tennessee-based band. After a hiatus that included lead singer John Davis finding Jesus, the band has returned to play a few shows here and there in recent years. Still, some of their best music has not been heard by enough people. In the Valley of Dying Stars is a classic album. (Song Recommendation: “Keep It Close to Me“)

The Sheila Divine
Though their roots are in the Northeastern U.S. (particularly Buffalo and Boston), this band was pretty big in Belgium, yet virtually unknown in the States. Initially signed to the hard rock/metal label Roadrunner Records, this decidedly not metal band had quite a following, but didn’t really break it big. Their last EP, Secret Society, saw them on Arena Rock Records, which was also home to Superdrag for a spell. Unfortunately, people change, the music scene changed, and the band called it a day in the early 2000s. Lead singer Aaron Perrino’s voice has to be heard to be believed. (Song Recommendation: “Sideways“)

Whiskeytown
Yes, you’ve probably heard of their lead singer. He’s a favorite of mine, too. Still, the band that would lead to Ryan Adams’ successful solo career should have been bigger. When I was starting to get into the alt-country scene, this was one of the bands introduced to me and I’ve been a fan since. The vocal harmonies between Adams and Caitlin Cary are sublime. (Song Recommendation: “16 Days“)

Grandaddy
I was introduced to this band thanks to Pete Yorn. The Modesto, California-based band opened for him during a 2003 tour, where I got to see them perform several times. Grandaddy’s music is unique, which is probably why their tech-spacey sounds didn’t catch on, but there’s an audience for all kinds of music and I wish theirs would have grown more. (Song Recommendation: “AM 180“)

Music Therapy Is Fake, Right?

What is music therapy? Why, it’s the therapeutic use of music, provided by a board-certified music therapist! What does that mean? It can mean a lot of things, but today, with the help of my father, I’m going to tell you a bit about music therapy in hospice.

Back when my dad wasn’t in the fast-paced, jet-setting career he enjoys today, he volunteered at a hospice during his free time. For those of you not in the know, a hospice is a place that cares for terminally ill people, who usually have less than 6 months to live. My dad’s job was to keep a woman company for an hour or two a week. We’ll call her Anne. She was in her mid-nineties and as smart as could be, though unable to walk. Dad was very interested in her childhood growing up on a farm, and on the second or third visit, he brought his fiddle to play for her. He played polkas, jigs, and reels, though Anne was partial to waltzes.

http://www.youtube.com/watch?v=_Ek3eCbfqp0

Note: If you’re going to be a music therapist, you’re going to need to know this song.

In short order my father started getting requests from other staff members to play for their folks. “Most of my visits were in the morning. At some point, I stayed and played through lunchtime. Staff members told me that the residents were generally more calm and ate better when I was playing, although I remember some being distracted from eating by my playing too.”

One man in particular loved the music. He was in a wheelchair, and generally non-responsive, but when the music began, he would grunt and rock, and his eyelids would flutter, though his eyes stayed closed. Those who knew him knew what the movements meant and how wonderful the music was for him.

“Another patient, a very sad one, was an ex-physics professor who, I am told, was a professional caliber violinist.  He was clearly very far away mentally.  He did sit to hear me play and he held out his hands to touch the violin, but I do not know how much he was understanding.”

My father is not a board-certified music therapist. He just wanted to help make some people’s days a little brighter. But he inspired me to begin my studies in music therapy as an undergrad, and to pursue the wealth of research in music therapy and the use of therapeutic music. With my rich education, clinical experience, and soon, my six-month internship, I discovered how to use the different parts of music – rhythm, melody, pitch, lyrics, instrumentation, and especially cultural or personal significance – to achieve meaningful, nonmusical goals.

In hospice, this may be helping a patient manage their pain, reflect on their life, work through grief, and think about their own mortality. You’ll also find music therapists in schools, hospitals, physical and substance rehabilitation centers, psychiatric units, and in private practice. We work with people of all ages on social, emotional, physical, mental, academic, and spiritual goals – helping a child on the autism spectrum build a tolerance for noise, leading discussions on sobriety, motivating a patient with a traumatic brain injury through their rehab (Rep. Gabby Giffords made leaps and bounds with her music therapist), and so much more.

Music therapy can only be provided by board-certified music therapists, but that doesn’t mean we have a monopoly on music itself! You don’t have to take classes, or even know how to play an instrument, to enjoy and benefit from music. Just play your favorite song, or breathe deeply and hum your own tune. See? You already feel better.

Stray Tracks of the Week (3/7-3/11/11)

*This is also posted on my personal blog, which was quiet this week due to school obligations.*

I listen to music constantly, and I’m constantly acquiring new things. So much, in fact, that serious evaluation on an album-by-album basis is impossible. To ensure my musical hoarding doesn’t amount to too much waste, I’ve elected to begin picking out choice tracks from my catch and reviewing them, here. I’m hoping to make this a weekly thing, every Thursday or Friday Saturday night, mods willin’.

*** This week is all-digital. We’ve got a track from Wagon Christ (aka Luke Vibert), Angel Eyes, and Baths.***


Wagon Christ – Mr. Mukatsuku (from Toomorrow on Ninja Tune)

It was sort of a shame that attention towards the 90’s IDM boom so often focused on Warp’s Big Three – Autechre, Aphex Twin, and Squarepusher – resulted in a lot of other, equally interesting producers (Jega, u-Ziq) falling by the wayside. In terms of recognition, Luke Vibert probably falls in that second category, but it hasn’t really stopped him from continuing music well into the present. Vibert is so ultra-prolific that he adopted numerous aliases that were all about as productive as your average mono-moniker’d producer, and each one filled a different stylistic niche. Harder junglist impulses were sated via the Plug alias, acid house / techno tracks went to a whole host of aliases including Ace of Clubs, disco went to Kerrier District, and drum and bass went to Wagon Christ. In all cases, Vibert’s signature silliness and love of old funk drum break samples remained constant.

But somewhere around the middle of the 00’s it seemed like Vibert had tired of all his pseudonyms. The last seven years or so have seen Vibert releasing music almost exclusively under his own name, all displaying a greater focus on the acid house influences that act as a sort of great unifier for all first-wave IDM artists. So it’s sort of odd that he’s decided to dust off the Wagon Christ moniker after 7 years of dormancy.

While much of the Toomorrow album is hard to distinguish from more recent music released under the Vibert name, “Mr. Mukatsuku” manages to recapture the weirdly melancholy feel much of Wagon Christ’s earlier music had (which often contrasted nicely with the Looney Toons-indebted madcap goofiness of the persona), most of which is attributable to the iconic sound of the Rhodes electric piano, used to great effect here, and the swooning brass samples applied in all the right places. The languid pace of the drum machine boom-bap (with just a bit of swing, for a jazz feel) gives the proceedings a sort of “lounge music for robots” feel, which is entirely appropriate, and the quivering acid synthline leaves no real doubt as to the song’s author. It could have seamlessly fit into Musipal, which is about as high of praise as you can give a Wagon Christ album. If only the rest of Toomorrow was as focused as this.

“Mr. Mukatsuku” on Youtube.

(The physical versions of “Toomorrow” are due next week, but you can acquire the digital version presently over atBleep.)

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Angel Eyes – Dire Dish (from Dire Dish on Not Not Fun)

Gotta feel for Andrew Cowie – the Australian lo-fi recording artist who releases music as Angel Eyes and who, if he had come around just a year earlier, would have been enjoying all the critical acclaim that Forest Swords is at the moment. At first listen, the two sound extremely similar, but patient listeners will find ways to distinguish the two in ways that serve Angel Eyes.

The production is what will fool you – both artists use a lot of reverb and lo-fi recording techniques, giving the sound a hollow, dubby feel. But the actual style of the music itself is different enough – the guitar work of FS and Cowie are both clearly indebted to Ennio Morricone, but Cowie often goes for expansive, ambient-ish meditation where FS aims for a curious sort of muddy bombast. Ultimately it’s the instrumentation that really does it – The pounding drums of Dagger Paths is entirely absent on Dire Dish, while Cowie utilizes synthesizers in an intriguing way that’s absent in his contemporary’s work – the low fidelity recording takes the keening tone of the synth and strips it of a few layers, resulting in a harsher, but also warmer, sound that gives “Dire Dish” much of its character. Now, if Angel Eyes ends upcovering an Aaliyah song, at that point we’ll start having a real problem.

Stream “Dire Dish” on Soundcloud.

(You can get “Dire Dish” digitally via Boomkat.)

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Baths – Nightly, Daily (from The Nothing / Nightly, Daily on Anticon)

Whither Anticon? The venerable Californian “backpack” (read: white) rap label seems to have largely lost interest in the sorts of music that it helped to pioneer, ostensibly at least. In part this might be due to some latent desire to “transcend” hip hop, and while a lot of their artists definitely fit the bill as rappers, some of their more famous acts display a (foolish?) musical ambition that seems to belie a dissatisfaction with the genre. Just read any interview with Adam “Doseone” Drucker and in his own colorful way he’ll outline for you what is either disappointment or resentment or a good old-fashioned chip on his shoulder with regard to rap music.

It’s been happening for a few years now. It started out with WHY?, who started off as a hip hop band and turned into a sort of indie sing-spoken poetry thing (they put on a truly abysmal live show in my town and since then I haven’t given them the time of day), and continued with the patronage of perpetually stoned electro-bro Tobacco, who’s taken to collaborating with a tired-sounding Beck lately. The latest acquisition for Anticon’s diversified portfolio is Will Wiesenfeld aka Baths, a young guy with muttonchops from Chatsworth, California who’s operated under a few different names, notably Post-Foetus (unfortunately it does not sound anything like Foetus).

Baths’ music is markedly different from the aggressively weird acts that make up the rest of Anticon’s new school – a lot of critics have lumped him in with LA’s Low End Theory scene, America’s pre-eminent electronic music movement at the moment, but Baths (usually) dispenses with thudding bass in favor of more delicate pop harmonies. “Nightly, Daily” furthers the trend, with a lovely indie-folk sensibility that meshes impressively with the usual scraping, hissing drum programming. It reminds me a lot of the sorts of little dalliances that Hrvatski would venture on 6 or 7 years ago, but this is really the core of Baths’ aesthetic – sunny, sweet music for gentler people than you’ll find out in the clubs on any given night. It’s pleasant and a little bit light in comparison to some of his album cuts, but that might be why it’s on this short EP. Given another album or two of music this consistent, Baths could end up as the best thing on Anticon’s roster.

“Daily, Nightly” on Youtube.

(You can acquire “The Nothing / Nightly, Daily” in lots of different places. I got mine from Bleep.)

Flashback Friday: Rock Out with Your **** Out

Queen. Pat Benatar. AC/DC. Def Leppard. They rocked us so hard we strained our necks hand-banging along AND our vocal chords trying to hit those high notes while screaming at the top of our lungs.

I have a distinct memory of singing “Cum on feel the noize” while swinging as high as I could on the swingset at school. I did not know how the name of the song was spelled (and neither did my mom).

Then of course, there’s badass Joan Jett. I used to roller skate my ass off to this song.

Break out the black concert tee, your ripped jeans and let’s rock it out!

Upcoming FBF themes:
Boy bands
Hip Hop
Hair bands
Lady R&B supergroups
Grunge
Party music…Stay tuned!

Lost Wax: So Red The Rose (1985)

After skewering a sacred cow with my first ever salvo for Crasstalk, I thought I’d change tack and praise Caesar instead of bury him. Music makes me happy, and I’d love to share what I consider lost, under-appreciated or misunderstood works from great bands. Hopefully, if y’all like it, I could make this a semi-regular thing. With that in mind, the goal of Lost Wax will be to introduce or re-introduce you to songs and albums that time has forgotten. So here are the prerequisites:

It has to be:

  1. a song or an album
  2. panned at the time of its release or critically ignored
  3. due a modern reevaluation

Enjoy!

 

Lost Wax: So Red The Rose (1985)

Cocaine is a terrible drug for musicians. It is possible to work through a healthy heroin addiction and still make an album like, say, Transformer. LSD can lead to some beautiful experimentation, and some truly awful, terrible album covers (Tarkus, Emerson, Lake & Palmer), but cocaine just turns people into assholes and songs into overproduced covers of Bang a Gong.

Tarkus! Ahhh!!! What the fuck is that thing?!?!

When two of the three Taylors in Duran Duran (Andy and John) left to join Robert Palmer, Tony Thompson and a mountain of coke and hookers (not really) to form Power Station in 1985, this left remaining members Simon Le Bon and Nick Rhodes with a critical shortage of Taylors. But instead of panicking, grabbing Chuck and Meshach Taylor and soldiering on as Duran Duran 2.0, messrs. Rhodes, Le Bon and Roger Taylor felt free to indulge in whatever atmospheric flight of fancy their frosted little hearts desired. That flight of fancy turned out to be a band called Arcadia, whose sole output was 1985’s beautiful, strange So Red The Rose.

I know what you’re thinking, it’s a bit of a cheat to choose this album for Lost Wax. It wasn’t a bomb (it went platinum), it wasn’t panned, it put 2 songs in the US top 40 and it contained 3/5th of what was arguably one of the biggest acts in the world at that time. And yet, the album has been largely cast off as just another indulgence from members of a band that had already peaked and was still years away from reinventing itself as the ‘Come Undone’ Duran of the 90’s.

On the face of it, ‘overindulgent’ would seem to fit. The album is as heavily overproduced as Duran Duran’s previous album, Seven And The Ragged Tiger (both were produced by Alex Sadkin), complete with the requisite electric drum kits, keyboards and Cor Anglais one would expect of the mid-80s, and there are more guest appearances on this album than a disaster telethon. Sting, Grace Jones, Herbie Hancock, Carlos Alomar, Andy Mackay and David Gilmour all have a hand in this work. The album art is a lurid mix of Anime, Flamenco and S&M. The songs have titles like ‘El Diablo’, ‘Goodbye Is Forever’ and ‘Lady Ice’. Yes, all the pieces are there for this album to be a train wreck and the apex of mid-80s pretentious excess.

What we get instead is a twisted, dark, mysterious fairy tale, more a musical than album. Listened front to back, a story emerges, something akin to a farm boy coming to the big sinful, corrupt city only to become involved with good women, bad women and the Devil. It’s pretty clear someone wants to screw him, kill him, steal his soul or do all three.

So Red The Rose opens with perhaps the album’s most famous song (and also its only bona fide hit, reaching #6 in the US singles chart), Election Day. With its driving mechanical beat and moody lyrics about ‘shadows and subways’ and entire cities being slaves to a mistress (not to mention Grace Jones sounding like she is ready to raise welts), it delivers an opening number that Sweeney Todd would be proud of.

Listen:  Arcadia – Election Day

The next few tracks modulate between the sweet, bouncy, and upbeat sound of Keep Me In The Dark and the bombastic, black humor of The Flame. The real winner of the album, though, is Missing, the ‘A’ side closer (remember when Albums had such a thing?) which is full of a melancholy and grief that boy bands aren’t supposed to possess.

The B side opens with The Promise, probably the only real clunker on the album, what with its over the top lyrics like ‘The hungry make their stand when they’ll stand for no more’ and Sting’s breathy backup singing, but then everything returns to form with El Diablo, which has far better lyrics (‘only the brightest shine, but not forever’). It’s a fun take on your typical Faustian deal with the Devil, and it ends with the protagonist ruing his fate while Nick Rhodes’ keyboards make a sound similar to a fun house ride spinning out of control.

No Faustian bargain here: Time makes Shatners of us all, Mr. LeBon

The album ends with Lady Ice, not the best track on the album, but a song that is courteous enough to leave the ending to the story ambiguous.

So there you have it. So Red The Rose owes more to the Duran Duran of The Chauffeur than of The Reflex, but this is a good thing. Darker, meaner and more melancholy than anything else Duran Duran (under any name) ever did, this album could really be considered their Blood And Chocolate, if that conceit weren’t the most pretentious fucking thing ever.

And now, here’s a bonus for you all for getting to the bottom: The Russell Mulcahy directed video for The Flame.

Arcadia – The Flame – YouTube

-Baconcat

Stray Tracks of the Week (2/28-3/4/11)

*This is also posted on my personal blog, which features pictures of a hairy, mostly naked man this week.*

I listen to music constantly, and I’m constantly acquiring new things. So much, in fact, that serious evaluation on an album-by-album basis is impossible. To ensure my musical hoarding doesn’t amount to too much waste, I’ve elected to begin picking out choice tracks from my catch and reviewing them, here. I’m hoping to make this a weekly thing, every Thursday or Friday Saturday night, mods willin’.

*** This week saw the arrival of a few packages from Mimaroglu and Boomkat that I’d been expecting for some time, as well as the usual bumper crop of digital music. I’ve got an old track from 13 & God, new stuff from NWG (aka Niggas With Guitars), and a new compilation entry from Subeena.***

——————–


13 & God – Von Gradleute (Hrvatski Remix) (from Men of Station / Soft Atlas on Anticon)

While researching a Keith Fullerton Whitman / Hrvatski split casette I invested in a few weeks ago, I came upon a happy discovery – a set of remixes that Whitman’s “breakcore” guise Hrvatski had created for the great Anticon supergroup 13 & God (a collaboration between “art rappers” Themselves and German art pop group The Notwist) – and I just had to have it. 13 & God was centrally important to my entry into indie music 6 or 7 years ago, when a friend of mine included their perfect pop song “Men Of Station” on a mixtape he sent me, and I fell in love. The prospect of Whitman (my favorite experimental composer) having his way with that song and others was too much to resist.

As a general rule, remixes (and album-length compendiums of them in particular) are a grab bag, as you’ll usually have so many different artists pulling the music in so many idiosyncratic directions that at best you’ll get a few remarkable edits among a number of inessential curiosities. The single format that the Men of Station / Soft Atlas release takes is a lot easier to handle, and it helps that it’s backloaded with the two Hrvatski remixes, one for each song. “Men of Station” was my favorite 13 & God effort, and much to my relief Whitman’s edit does not disappoint. The song’s central melodic motifs are wisely kept intact, and even augmented by swirling harp samples, as well as reverb and delay that are sorely lacking in the original, and Whitman’s frenetic jungle drum programming fits in better than it has any right to. I’m sort of perplexed it took me this long to figure out that this remix was out there – I can only imagine how ecstatic I would have been hearing this when I was first listening to 13 & God and Hrvatski.

Stream “Von Gradleute” on Soundcloud.

(I acquired “Men Of Station / Soft Atlas” on vinyl because I’m dumb like that, and if you’re dumb too KFW probably has a few more copies over at Mimaroglu, but normal people can find it on iTunes, along with the 13 & God full length. Their follow-up LP is due in the next few months, so that’s exciting.)

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Niggas With Guitars – Milky White (from Ethnic Frenzy on Digitalis Vinyl)

This was the other half of my 13 & God Mimaroglu shipment, one that I picked up on a whim based on chatter that I had heard from associate tape collectors I respected. I have no idea who these people are or why they felt like “Niggas With Guitars” would be a good name for their outfit, but their music is definitely interesting. The vinyl was so new when I got it that there was no indication of which side was which, so my naming convention might be way off.

“Milky White” (if that is indeed the name of the song) is either the second or fifth track on the 6-track album, and like all of NWG’s music that I’ve heard, it is quite disarming. It could, one imagines, fit nicely into some odder corner of the “chillwave” scene, steeped as it is in a certain sort of nostalgia – the lilting, gentle synth melodies and horn-like drones call to mind old nature film soundtracks or meditation music ripped from casette (fittingly, NWG kicked around the fringe music casette scene before landing this endorsement from the sterling Digitalis label). But more than anything else, it’s strongly reminiscent of the interlude music that Boards of Canada would insert between its more propulsive songs on their old albums. Lovely, if slight, music. Now if they could just do something about that name…

Listen to “Milky White” on Soundcloud.

(I purchased “Ethnic Frenzy” as soon as it hit Mimaroglu, and your best bet might be finding it there [it’s up there at the top] – if Discogs is to be believed, there are only 200 copies for the world, with the first run of 75 sold out at source. Better hurry!)

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Subeena – Miscalculate (from Super Volume 1 on Super Recordings)

I’ve waited for Italian producer Subeena to go “next level” popularity-wise for awhile now and it hasn’t happened, much to my chagrin. Of all the dubstep(ish) techno-leaning freshman producers to come out of the UK in the last few years, Subeena was by far my favorite, as her love of early Warp records sounds was something that I shared, and she spent some time in the Planet Mu roster, which I’ve always looked to for more forward-thinking trends in electronic music. Popularity’s kind of a relative thing in electronic circles but I’ve always felt like she didn’t get the sort of recognition her talent called for.

“Miscalculate”, which just popped up on her friend Raffertie’s Super Recordings compilation, doesn’t sound like it’s going to break that trend. Overall it takes after some of the more recent work she’s done for her own Opit label, which finds Subeena contributing vocals, and bringing a more rave-ish sensibility to the music. But I feel like this track in particular is a little too reminiscent of “Spectrum”, the b-side from her “Picture” single. Perhaps it’s just the fact that the track feels in general a little too much like a b-side (not that anyone should expect A-material to show up on label compilations, necessarily). The track is still fun enough, but in comparison to Subeena’s best work it doesn’t quite measure.