While I hate to be so repetitive and not delivered my promised article on The Stooges I just saw a show last night and it was a doozie.
Attending with my band mate Alex Adler, his room mate Hee-Jae, and his brother whose name escapes me we arrived as the first band, Trotsky Icepick was finishing up. That was my, and the promoter's first big mistake. These last few songs were mesmerizing. I knew nothing over them prior, but I am certainly now a fan. It's hard, in fact for me impossible not to compare them to Guided by Voices. They are certainly peers in every way though perhaps with greater musicianship. Though my exploration into their world is very fresh I recommend anyone reading to follow suit after this energizing performance.
So at this point I was so heated up I needed to find a swimming ground immediately. But we, for some reason had another act in between. Flamingo, one of the oddest looking bands I've ever seen. Adler thought they must have been in high school, but I thought they were older guys that just looked like babies. There was a nerdy drummer who looked like Jimmy Flemion, Elijah wood on bass, and a guy I was pretty sure the other guitarist (by far the best member) was either tripping or autistic. Then came the front man. He was the biggest embarrassment I have seen onstage. They were the kind of band that seems like they don't even listen to music, and judging by the front man's hair they've never even seen a picture of a real rock band before.
While they started off strong every song went on for an excruciatingly long time. The first few were instrumentals and had enough excitement to get you real amped for the vocals. After what seemed like 25 minutes the vocals came in and on top of the band's ungodly image and painful song lengths they pushed the set into unarguable suckage. However, it got even worse. This disgusting excuse for a front man also thought himself a comedian and tortured us with banter even more excessive than his songs. The material was almost entirely self-deprecating fat jokes, which we all know were never good enough for any of the great fat comedians. As a fat guy myself I am reluctant to criticize a front man for his weight, but in addition to being "annoying fat" (the range beyond acceptability and below sympathy) he attempted to use it to his advantage and this was far more embarrassing than his unfortunate build. The music continued for at least an hour, successfully killing my buzz from Trotsky Icepick.
Luckily the Meat Puppets were up next. What's left to say about the Puppets? Not much. They are probably the best live band, barring only Flash Gilmore & the Funbeatles and Guided by Voices, to appear on stage in the last 30 years. They've still got it, they play the hits, they jam, they blow your mind. Yeah, yeah, it would be better if Derrick Bostrom were still with them, but Shandon Sahm is just fine.
See the Meat Puppets, as many times as possible.
Friday, June 17, 2011
Monday, June 13, 2011
New Direction
I've let this thing go to waste too much in the past, wow, year and a half.
Well, after spending a lot of time with magazines like Ugly Things and Shindig! I think I need to contribute my generations voice to that sort of thing. What a damaged bunch we are. We came from a different time where our introduction to rock music came from megahits of the early 90s about school shootings and torture and the next trend hit a climax with Woodstock 99. Popular music hit, perhaps it's all-time nadir in the dawn of the new millennium (in terms of popularity over quality) before the internet shattered it all to bits. In which case many of us were too willing to build an allegiance to Pitchfork Media. That much-maligned source is no more guilty of damaging popular taste than past troublemakers like Rolling Stone had almost forty years prior.
And they weren't done with their awful tricks either. Many of us ran away into the past when music was better. Better music, of course, as according to such authoritative resources as classic rock radio, old-fashioned VH-1 programming, and the history rewriting magazines of yore. Needless to say the effects were not much better.
The best thing we got were the Strokes, and they stand as a testament to the sad state of rock music as it was in much better shape ten whole years ago. "Last Nite," perhaps the most popular rock song of the last decade plus still only made it to 108 on the singles chart (14 in the hyped-up UK market), a position bested by many of the obscure artist I have read about in the aforementioned publications. Even worse, that took their famously well-connected parents, remarkable looks, and unparalleled talent. It sure is fun to listen to you, but just can't give you the same kind of hope a sixties hit like "Psychotic Reaction" could.
Worst of all many of us are still impressed by hip-hop. It's a sad state.
So, rather than continue to take the risk of giving away free music I'll just write about rock music. The real stuff, the way I see it just like the greats before me like Mike Stax, Lester Bangs, Laurent Bigot, etc. I come from a time where rock wasn't for dancing, it was for sulking, and being in a band would never, ever, ever, get you girls, it would get you arrested and not even with a fun story leading up to it. That's my life and times and it's the only thing I love.
Coming soon, I talk about how my generation actually understands the Stooges better than the older guys, if you can believe that.
Well, after spending a lot of time with magazines like Ugly Things and Shindig! I think I need to contribute my generations voice to that sort of thing. What a damaged bunch we are. We came from a different time where our introduction to rock music came from megahits of the early 90s about school shootings and torture and the next trend hit a climax with Woodstock 99. Popular music hit, perhaps it's all-time nadir in the dawn of the new millennium (in terms of popularity over quality) before the internet shattered it all to bits. In which case many of us were too willing to build an allegiance to Pitchfork Media. That much-maligned source is no more guilty of damaging popular taste than past troublemakers like Rolling Stone had almost forty years prior.
And they weren't done with their awful tricks either. Many of us ran away into the past when music was better. Better music, of course, as according to such authoritative resources as classic rock radio, old-fashioned VH-1 programming, and the history rewriting magazines of yore. Needless to say the effects were not much better.
The best thing we got were the Strokes, and they stand as a testament to the sad state of rock music as it was in much better shape ten whole years ago. "Last Nite," perhaps the most popular rock song of the last decade plus still only made it to 108 on the singles chart (14 in the hyped-up UK market), a position bested by many of the obscure artist I have read about in the aforementioned publications. Even worse, that took their famously well-connected parents, remarkable looks, and unparalleled talent. It sure is fun to listen to you, but just can't give you the same kind of hope a sixties hit like "Psychotic Reaction" could.
Worst of all many of us are still impressed by hip-hop. It's a sad state.
So, rather than continue to take the risk of giving away free music I'll just write about rock music. The real stuff, the way I see it just like the greats before me like Mike Stax, Lester Bangs, Laurent Bigot, etc. I come from a time where rock wasn't for dancing, it was for sulking, and being in a band would never, ever, ever, get you girls, it would get you arrested and not even with a fun story leading up to it. That's my life and times and it's the only thing I love.
Coming soon, I talk about how my generation actually understands the Stooges better than the older guys, if you can believe that.
Friday, May 20, 2011
My First DVD Review!
And it's for my favorite band of the 80s!
A few weeks ago I was in the East Bay with my bandmate Alex Adler for what turned out to be the supposedly second to last Flash Gilmore & the Funbeatles Show. Before that historic night we took a trip out to Berkley where Adler picked up this fine DVD I have been unable to find since returning to Los Angeles.
We spent the two less eventful nights of that trip watching this DVD and it's bonus features and what a knockout. For a DVD it was not a bad competitor against Flash's jaw-dropping performance on "Earth Girl."
The general feature compiles live footage of the Pups at their commercial peak hot off their tour and the brothers' televised appearance with Nirvana and the subsequent album Too High to Die. Some are from big shows, other small, plus a lot of record store appearances, surprisingly. For every occasion the band lives up to its legendary status. In fact, these performances wiped any doubt I had that Derrick Bostrom was a worthy sideman to the Kirkwoods. His skill is clearly sufficient, though I hesitate to say equal to those virtuosos. These stellar live performances are interspersed with backstage tour videos that capture the trio's unique personalities and luckily slow down the relentless pace and unbelievable energy of the live shows.
The bonus features, though, are even better. We see an excited young girl interview Curt around the time of Huevos, memories from Derrick Bostrom, and a somber reflection on the band by Mike Watt, retelling his departed bandmate D. Boon's love of their music. However these are easily forgotten compared to an inspirational conversation between Cris, Mike Watt, and Flea essential for not just bassists but any musician with dreams. Almost as engaging is Thurston Moore's story of his first encounter with the Meat Puppets after fantasizing about the mysterious group from the desert. Every crazy thing you could imagine about the Pups is confirmed in Moore's account of what one must assume was their first trip to New York City.
The only clunker is the inclusion of the "We Don't Exist" video that reminds us just how bad some grungey 90s videos were. It's a shame as their other 90s videos are actually pretty good! The whole thing ends with a hyper performance of "Good Golly Miss Molly" that no fan should miss.
Best rock DVD ever.
If you looking for more here's a great recent interview with the Kirkwoods documenting their whole story.
Sunday, May 15, 2011
John Maus/Geneva Jacuzzi/Holy Shit at the Echo 5/13
Probably nobody reading this has noticed I don't review shows often. They probably don't even realize it's been a very long time since I've updated. Either way, I felt this show needed to be reviewed immediately. Here's a little update too: I live in LA again and I am actually listening to new music and enjoying it! It's been a good year. So moving on...
Holy Shit was the performer I had heard the least prior to that evening. They were reduced to a trio due to a missing keyboard player. They had a cool style rooted, unsurprisingly in early postpunk/goth, particularly evoking the Cure. I am sure their records are pretty good but it was a pretty disappointing performance. While the three played well, particularly the drummer It really looked like they were not having any fun. Maybe the singer/guitarist a bit, but definitely not the bassist. He stood there as still as most of the goons in the typical LA audience with the presence (and disguise) of a man at least twice his age. He was so bland (and his instrument least audible) sometimes you forgot he was there. All that did was make you notice that the drummer didn't seem much happier. Good music, disappointing performance, but at least they were first.
In between sets a woman in shiny Arabasque disguise and black and white makeup lurked through the audience. I briefly feared it was a cougar (though perhaps not consciously) occultist who had taken a strong liking to me on Valentine's Day, but much to my relief and excitement it was Ms. Jacuzzi herself. She took the stage alone with only a small synthesizer to keep her company and immediately made me think that while I never got to see Kate Bush and Siouxsie Sioux at their prime I at least had this. Every aspect from her theatricality, to the lighting, to her voice and Moroder-esque atmospheres evoked my greatest dreams and fantasies. Several songs into the set she stripped over her excessive layers down to a more formfitting black ensemble and let down her majestic brown hair. Of course all the men in the audience who failed to observe carefully or do their homework before the show were now aware they were in the presence of perhaps the most beautiful woman in Los Angeles and moved up. I was stuck behind a goon of height comparable height who barely even moved to the beat. Typical Los Angeles, but nothing could ruin this. In fact it may have been a good thing as I probably would have been visibly aroused otherwise. If you like bizarre performances, great disco-goth, and agree that darkness should always be in the spirit of fun you cannot miss Geneva Jacuzzi.
Next we had the headliner himself John Maus. Where I had previously described the University of Hawaii professor as "post-outsider" I immediately dropped the "post" as soon as he took the stage. I have not seen any performances like this before, but when I think about it, that's surprising. He took the stage alone with just a microphone but with the presence of Ian Curtis and Arthur Russell. Basically it was like watching someone rock out to his own CD. Yet it was way more exciting than a lot of bands I've seen. In fact, most. The energetic Maus would often scream off the mic and beat his chest with said device just in case you forgot you were seeing something special. As awkwardly as the songs ended the set was relentless and the seemingly well-initiated audience was in full force for his classics like "Rights for Gays," and "Do Your Best." That being said I am sure I wasn't the only one a little disappointed with his format which naturally would have to exclude "Navy Seals." Of all artists I've seen John Maus was maybe the most excited I've seen and as a fan of his what more could you ask for?
Now, this could be part of the fact that the show was on Friday the 13th, but I know the initiated wonder about the absence of "Ariel Pink" from this review. Well all of us in the audience thought the same thing. Not only is he presumably that missing keyboard player from Holy Shit, but also the missing boyfriend of Geneva Jacuzzi. Not to mention his collaborations with Maus. While I am glad his assumed presence was not a selling point for this show it was still a sad blow to follow R. Stevie Moore having dropped out of the lineup. These men's attendance would have of course made the show much better, but anyone there has little to complain about.
Holy Shit was the performer I had heard the least prior to that evening. They were reduced to a trio due to a missing keyboard player. They had a cool style rooted, unsurprisingly in early postpunk/goth, particularly evoking the Cure. I am sure their records are pretty good but it was a pretty disappointing performance. While the three played well, particularly the drummer It really looked like they were not having any fun. Maybe the singer/guitarist a bit, but definitely not the bassist. He stood there as still as most of the goons in the typical LA audience with the presence (and disguise) of a man at least twice his age. He was so bland (and his instrument least audible) sometimes you forgot he was there. All that did was make you notice that the drummer didn't seem much happier. Good music, disappointing performance, but at least they were first.
In between sets a woman in shiny Arabasque disguise and black and white makeup lurked through the audience. I briefly feared it was a cougar (though perhaps not consciously) occultist who had taken a strong liking to me on Valentine's Day, but much to my relief and excitement it was Ms. Jacuzzi herself. She took the stage alone with only a small synthesizer to keep her company and immediately made me think that while I never got to see Kate Bush and Siouxsie Sioux at their prime I at least had this. Every aspect from her theatricality, to the lighting, to her voice and Moroder-esque atmospheres evoked my greatest dreams and fantasies. Several songs into the set she stripped over her excessive layers down to a more formfitting black ensemble and let down her majestic brown hair. Of course all the men in the audience who failed to observe carefully or do their homework before the show were now aware they were in the presence of perhaps the most beautiful woman in Los Angeles and moved up. I was stuck behind a goon of height comparable height who barely even moved to the beat. Typical Los Angeles, but nothing could ruin this. In fact it may have been a good thing as I probably would have been visibly aroused otherwise. If you like bizarre performances, great disco-goth, and agree that darkness should always be in the spirit of fun you cannot miss Geneva Jacuzzi.
Next we had the headliner himself John Maus. Where I had previously described the University of Hawaii professor as "post-outsider" I immediately dropped the "post" as soon as he took the stage. I have not seen any performances like this before, but when I think about it, that's surprising. He took the stage alone with just a microphone but with the presence of Ian Curtis and Arthur Russell. Basically it was like watching someone rock out to his own CD. Yet it was way more exciting than a lot of bands I've seen. In fact, most. The energetic Maus would often scream off the mic and beat his chest with said device just in case you forgot you were seeing something special. As awkwardly as the songs ended the set was relentless and the seemingly well-initiated audience was in full force for his classics like "Rights for Gays," and "Do Your Best." That being said I am sure I wasn't the only one a little disappointed with his format which naturally would have to exclude "Navy Seals." Of all artists I've seen John Maus was maybe the most excited I've seen and as a fan of his what more could you ask for?
Now, this could be part of the fact that the show was on Friday the 13th, but I know the initiated wonder about the absence of "Ariel Pink" from this review. Well all of us in the audience thought the same thing. Not only is he presumably that missing keyboard player from Holy Shit, but also the missing boyfriend of Geneva Jacuzzi. Not to mention his collaborations with Maus. While I am glad his assumed presence was not a selling point for this show it was still a sad blow to follow R. Stevie Moore having dropped out of the lineup. These men's attendance would have of course made the show much better, but anyone there has little to complain about.
Tuesday, December 7, 2010
2010: Good Enough to Acknowledge
I think it has been since either 2005 or 2006 that I even considered a top albums of the year list. 2010 has actually given me enough to think about.
I think in the past I had hesitated because I knew there was a lot I probably would like that I didn't hear at all, as well as some things that I haven't heard enough (at this point that being the latest No Age) and fighting my own impatience. The latter meaning that it's only December seventh, and let's not forget that there could be more releases. Seems unlikely but let's consider 2001 in which Jim O'Rourke's Insignificance was released the final Tuesday of the year.
Of course this year looked pretty bad at first with the death of Jay Reatard. It was enough for me to expect this whole decade to be a weak as the last. However things changed pretty quickly for many reasons, not least of all the reformation of some of the 90s greatest acts - Guided by Voices and Pavement.
Firstly, we had the formation of today's greatest live band who happens to be from right here in the Bay Area. If you still aren't up on Flash Gilmore and the Funbeatles this should let you know of their importance:
Then there's the albums. Here's a few I liked in No particular order.
Titus Andronicus - The Monitor
The subnormals weren't the only people with a good eye on Jersey this year and Glen Rock's young stars have made the new Born To Run. The album touches upon all the same themes you should expect from the garbage state such as rage, failure, constant fighting, destructiveness, pride, and of course, lots and lots of alcohol. Coupled with the Feelies' Crazy Rhythms this is how I could show anyone what it's like to be from that state. The energy and urgency is there and with an average song length of six and a half minutes it's nothing short of epic... just look at the cover!
Will Stratton - New Vanguard Blues
Hailing from a few miles south (though he can also claim the East Bay as home), Stratton's third is a bit further stylistically than Andronicus. The singer-songwriter continues growing not only in his musicianship, but also in his studio prowess. Stratton's minimal arrangements manage to sound full and powerful, well-complimenting his vocals and lyrics and proving that today's "folk" musicians don't need to resort to Sufjan Stevens' over the top arrangements to distinguish themselves.
Personal and the Pizzas - Raw Pie
Rounding out the Jersey section we have Personal and Pizzas who despite claims to be from Hoboken and survive and a diet of Benny Tudino's giant slices and Budweiser tall boys are actually from San Francisco. Regardless, they play the part well and it's a pizza party wherever they go. While it's very easy to dismiss them as a gimmicky novelty act the fact remains that Personal is just an outstanding songwriter who happens to work in the style of Ramones-style punk/pop. Unfortunately, though, this comes across better in live performance than record, not to say this isn't worth owning, though.
Deerhunter - Halcyon Digest
After years of meaning to get into this band I finally have, right at the time of their most solid album, one they really puts all their strengths to the front. Bradford Cox and company deliver a set of creative, well-written, and atmospheric songs with an exceptionally wide range of emotion. Halcyon Digest is one of those classic albums that sounds much like everything else that's been made to date but in its own way. This winner for best-titled album of the year proves that Deerhunter is perhaps the most important band today.
Ariel Pink's Haunted Graffiti - Before Today
Int he five or so years since Ariel Pink's name became known outside the freakiest of LA hipsters the post-outsider artist stayed pretty busy. He toured constantly, pushed his favorite artists, put a band together, got a record deal, and made many more people uncomfortable. However, he did not do much more recording until this year. With expcations as high as the curiousity about his jump into pro audio, Pink and his band delivered. His songwriting is as strong, and much more consistent than before and while his smooth 70s pop has lost a little of it's eeriness with the clean production, it hasn't lost any of its heart.
Beach House - Teen Dream
After thinking these guys were everything I hated about new music (still don't like their other albums) the inclusion of "Norway" on MOJO's dream pop compilation was enough to make me pick this one up. The rest of the album lived up with its slow, sensual, and yes, dreamlike, sound. With a massive budget, the Baltimore duo crafted a successfully big statement that will surely set the standard for the rest of their career.
Th Apples in Stereo - Travellers in Space and Time
The one that gave me hope. When I first heard this old favorite's more electronic turn I was not sure what to think at first. In many ways, it's Robert Schneider taking a cue from his own followers and, of course besting them. Unlike the Apples' career up to this point there is a bit more than sunny sounds beneath the surface and at closer look this is a heartbreaking divorce album. Luckily Schneider took a different route than Dylan on Blood on the Tracks and his pain manifests itself in an aspiration for pure ecstasy just like Brian Wilson would. Don't like the electronics and new members distract you, this will go down as one of the Apples' best.
I think in the past I had hesitated because I knew there was a lot I probably would like that I didn't hear at all, as well as some things that I haven't heard enough (at this point that being the latest No Age) and fighting my own impatience. The latter meaning that it's only December seventh, and let's not forget that there could be more releases. Seems unlikely but let's consider 2001 in which Jim O'Rourke's Insignificance was released the final Tuesday of the year.
Of course this year looked pretty bad at first with the death of Jay Reatard. It was enough for me to expect this whole decade to be a weak as the last. However things changed pretty quickly for many reasons, not least of all the reformation of some of the 90s greatest acts - Guided by Voices and Pavement.
Firstly, we had the formation of today's greatest live band who happens to be from right here in the Bay Area. If you still aren't up on Flash Gilmore and the Funbeatles this should let you know of their importance:
Then there's the albums. Here's a few I liked in No particular order.
Titus Andronicus - The Monitor
The subnormals weren't the only people with a good eye on Jersey this year and Glen Rock's young stars have made the new Born To Run. The album touches upon all the same themes you should expect from the garbage state such as rage, failure, constant fighting, destructiveness, pride, and of course, lots and lots of alcohol. Coupled with the Feelies' Crazy Rhythms this is how I could show anyone what it's like to be from that state. The energy and urgency is there and with an average song length of six and a half minutes it's nothing short of epic... just look at the cover!
Will Stratton - New Vanguard Blues
Hailing from a few miles south (though he can also claim the East Bay as home), Stratton's third is a bit further stylistically than Andronicus. The singer-songwriter continues growing not only in his musicianship, but also in his studio prowess. Stratton's minimal arrangements manage to sound full and powerful, well-complimenting his vocals and lyrics and proving that today's "folk" musicians don't need to resort to Sufjan Stevens' over the top arrangements to distinguish themselves.
Personal and the Pizzas - Raw Pie
Rounding out the Jersey section we have Personal and Pizzas who despite claims to be from Hoboken and survive and a diet of Benny Tudino's giant slices and Budweiser tall boys are actually from San Francisco. Regardless, they play the part well and it's a pizza party wherever they go. While it's very easy to dismiss them as a gimmicky novelty act the fact remains that Personal is just an outstanding songwriter who happens to work in the style of Ramones-style punk/pop. Unfortunately, though, this comes across better in live performance than record, not to say this isn't worth owning, though.
Deerhunter - Halcyon Digest
After years of meaning to get into this band I finally have, right at the time of their most solid album, one they really puts all their strengths to the front. Bradford Cox and company deliver a set of creative, well-written, and atmospheric songs with an exceptionally wide range of emotion. Halcyon Digest is one of those classic albums that sounds much like everything else that's been made to date but in its own way. This winner for best-titled album of the year proves that Deerhunter is perhaps the most important band today.
Ariel Pink's Haunted Graffiti - Before Today
Int he five or so years since Ariel Pink's name became known outside the freakiest of LA hipsters the post-outsider artist stayed pretty busy. He toured constantly, pushed his favorite artists, put a band together, got a record deal, and made many more people uncomfortable. However, he did not do much more recording until this year. With expcations as high as the curiousity about his jump into pro audio, Pink and his band delivered. His songwriting is as strong, and much more consistent than before and while his smooth 70s pop has lost a little of it's eeriness with the clean production, it hasn't lost any of its heart.
Beach House - Teen Dream
After thinking these guys were everything I hated about new music (still don't like their other albums) the inclusion of "Norway" on MOJO's dream pop compilation was enough to make me pick this one up. The rest of the album lived up with its slow, sensual, and yes, dreamlike, sound. With a massive budget, the Baltimore duo crafted a successfully big statement that will surely set the standard for the rest of their career.
Th Apples in Stereo - Travellers in Space and Time
The one that gave me hope. When I first heard this old favorite's more electronic turn I was not sure what to think at first. In many ways, it's Robert Schneider taking a cue from his own followers and, of course besting them. Unlike the Apples' career up to this point there is a bit more than sunny sounds beneath the surface and at closer look this is a heartbreaking divorce album. Luckily Schneider took a different route than Dylan on Blood on the Tracks and his pain manifests itself in an aspiration for pure ecstasy just like Brian Wilson would. Don't like the electronics and new members distract you, this will go down as one of the Apples' best.
Thursday, October 28, 2010
A Necessary Evil, I Suppose
Still getting the hang of this again, more regular serious updates again soon, but for now here's my Halloween playlist. Starting tomorrow that's all I'll be listening to until I start driving up North.
1. "Trip Thru Hell, Part One" - CA Quintet
2. "Party Time" - 45 Grave
3. "Dub Housing" - Pere Ubu
4. "Mansion" - The Fall
5. "Halloween" - The Dream Syndicate
6. "Jack the Ripper" - Screaming Lord Sutch
7. "No Tears" - Tuxedomoon
8. "Big Empty Field" - Swell Maps
9. "Night in the Asylum" - Bobb Trimble
10. "Pajama Party in a Haunted Hive" - Beat Happening
11. "They Walk Among You" - New Math
12. "Graveyard" - Public Image Ltd.
13. "I Will Wait" - Pere Ubu
14. "It's Halloween" - The Shaggs
15. "Showing Shadows" - R. Stevie Moore
16. "Chain Saw" - Ramones
17. "Black Magic" - T.S.O.L.
18. "The Sleepwalkers" - Van der Graaf Generator
19. "Ghost Story" - John Cale
Spooky.
1. "Trip Thru Hell, Part One" - CA Quintet
2. "Party Time" - 45 Grave
3. "Dub Housing" - Pere Ubu
4. "Mansion" - The Fall
5. "Halloween" - The Dream Syndicate
6. "Jack the Ripper" - Screaming Lord Sutch
7. "No Tears" - Tuxedomoon
8. "Big Empty Field" - Swell Maps
9. "Night in the Asylum" - Bobb Trimble
10. "Pajama Party in a Haunted Hive" - Beat Happening
11. "They Walk Among You" - New Math
12. "Graveyard" - Public Image Ltd.
13. "I Will Wait" - Pere Ubu
14. "It's Halloween" - The Shaggs
15. "Showing Shadows" - R. Stevie Moore
16. "Chain Saw" - Ramones
17. "Black Magic" - T.S.O.L.
18. "The Sleepwalkers" - Van der Graaf Generator
19. "Ghost Story" - John Cale
Spooky.
Tuesday, October 19, 2010
Standing Before King Everything
This was of course the kind of thing I would give my life for: Two nights in a row of Guided by Voices’ classic lineup in the two best places on Earth.
The first night at Los Angeles’ Wiltern Theater was a special occasion as I was joined not only by fellow GbV devotee Paul Igaz, but by two newcomer friends of ours (including a true Pollard). After a number of canned American macrobrews we were ready to head down the street for the show. Doors were at 7 that night and we arrived at almost 8:30. Missing Times New Viking was an unfortunate but doable sacrifice, but what was surprising was that had the schedule been followed to the T we would have missed some of Guided by Voices set. They started not much later, but as Uncle Bob and company entered the stage with “A Salty Salute,” we learned where out lateness was a mistake. Paul and my attempts to get closer were met with unpermissive security forced us into be the most enthusiastic fans in the middle sea of Hollywood poseurs.
However, as Mitch led us into “Shocker in Gloomtown,” the reassurance that we would have another chance the next night was enough to let it go. The band continued to lead us through all the classics from the obvious “I am A Scientist,” “Motor Away”) to the obscure (“My Impression Now”) with fantastic showmanship not only from the Fading Captain himself, but equally from cohorts Mitch Mitchell and the fantastically dressed Greg Demos. Staging hit its peak with the Tobin Sprout cuts – particularly the ones in which he was joined by Pollard and “Cut-Out Witch” (one of the few Under the Bushes Under the Sttars cuts played.) Bob hit us with all his classic moves – the windmills, the kicks, the hops, yet kept them in check to give his band the credit they deserve.
At San Francisco’s Warfield even more friends joined me after an invigorating drive across the Bay Bridge. This time Times New Viking confirmed their importance as one of today’s best bands leaving me, unlike the rest of my crowd speechless. They evoked not only their all-encompassing home state, but some of the cosmic power of Young Marble Giants with Beth Murphy reminding me of an awkward Chrissie Hynde and Adam Elliott as the greatest singer songwriter to sit behind a drum kit.
Then it really started. Was this show better than the one in LA? It is impossible to say, but what I can say is this: Being much closer to the stage surrounded by people who know every word to “Gleemer (the Deeds of Fertile Jim),” “Smothered in Hugs,” and the symphonic high of “Don’t Stop Now” one can only think of commercials for Christian rock compilations for comparison. You know, the ones where the massive audience throws their collective hands towards the sky in transcendent ecstasy. It was like that, but with a lot more motion in the body, a bit hard to stay on your feet, well, and beer, obviously. Likewise the new proximity to the stage allowed me to finally witness the legendary “crazy Kevin face” which was all its cracked up to be possibly due to, or perhaps despite the fact that Mr. Fennell had aged particularly well in spite of the worst substance abuse.
While the songs were the same, some things differed between the shows. Perhaps this was only due to the location of my party, but the SF show was much more male-dominated, yet despite all your outsider sneering had no apparent gay element to it. Obviously Guided by Voices, right? On a similar note, The Los Angeles show featured a long string of banter between Pollard and Mitchell on the topic of Los Angeles pussy, which I am sure was enjoyed by all single members of the group particularly Mitch. The Los Angeles show also featured a great rush to the stage on “Motor Away,” in which at least 30 people joined the band onstage to everyone’s delight. This was not repeated, but neither was Pollard’s improvisation on “Lethargy” which reminded us that no one in the band gives a fuck, so why should we?
With all the songs intact the band changed it up a little bit by switching from two encores into three, but both ended the same way. First a sing-along epic rendition of “Johnny Appleseed,” and the closer to end all closers “Weedking” in which Uncle Bob sends his fans home early with the right idea I am sure almost all of us followed.
That’s right you will be home early to give your own neighborhood a taste of the Monument Club where you can watch your newly initiated friends transform from child to Official Iron (Wo)Men. That’s all you’re getting. Gotta leave some surprises for you suckers on the East Coast.
But here’s one they certainly won’t be swinging in Boston: Mitch has maintained the cigarette with unfathomable constancy and at many point, so does Pollard.
Wednesday, April 21, 2010
Love Is Trust
Sorry I've been, like, dead, lately. Recharging my batteries as they say. Got some cool stuff you'll all see soon.
"This guy should be in GWAR"
-Beavis or Butthead.
Also, I just finally saw hype! which you all must. Even if you don't think you like grunge - this movie will change that. Perhaps, favorite rock doc.
"This guy should be in GWAR"
-Beavis or Butthead.
Also, I just finally saw hype! which you all must. Even if you don't think you like grunge - this movie will change that. Perhaps, favorite rock doc.
Thursday, February 4, 2010
Just a Symptom of the Moral Decay That's Gnawing at the Heart of the Country
Due to an M&M's TV spot, The The got perhaps their largest exposure in the US in 2007. The commercial utilized this album's "This is the Day" giving the audience a catchy piece of 80s indie rock. While cute, the commercial does not show the deep, dramatic and in fact life-affirming power of the song. After a long time of not listening all that much I put this on the turntable on a whim. Good call on my part.
The rest of the album is not far behind. I will be honest that I've listened to the first side much more than the second, but that is not to say it's only half-great, but that first side... fuggedaboudit. Anchored by "This is the Day," it starts off with the dark and intense yet insanely catchy "I've Been Waiting for Tomorrow All of My Life." At this point it is pretty clear that The The's pretty-much-only member Matt Johnson is a bit overly tragic in persona. However, either the conviction in his voice will make you believe it or his knack for songwriting will make you not care. Most likely it will be both. He's got a real skill for stretching out his songs too as only two songs are below 5 minutes in time. Not only do these secret epics remain interesting for up to over nine minutes (the appropriately-named "GIANT"), Johnson uses them as an opportunity to show off his diverse skills in his genre-bending solos. Likewise Side one closer "Uncertain Smile" featuring a piano solo from Jools Holland may even be the album's finest cut at nearly seven minutes that leave you still wanting more.
This is the album today's college kids are trying to make in their dorm rooms with their bootleg copies of ProTools and budget M-Boxes. Hence it serves as evidence that such technology is a bad influence on music.
The The - Soul Mining (1984)
Here's the original video for "This is the Day"
In other news, I think there was a problem with the original upload of the Chills/Van Dyke Parks collaboration "Water Wolves," so I fixed that by putting up the whole record on that very old article.
Wednesday, January 27, 2010
New Hope on Earth
Well, I just got back from another show at 5011 in Mid-City. A week and a half I went to see my friend Benefit Friends, but had to leave before he played. However it was still a good time thanks to Tubby Boots and the San Francisco band that preceded them. That band sounded like Ratatat with the guitarist from Tortoise if that rings any bells.
Tonight was an even better show, though. The first band - Furcast was amazing. They were like an epic goth-inspired Black Moth Super Rainbow... but no, that would be playing them off as a little bit more derivative, but shit, they were really great. Corridor may have been even better. Merely a heavily-affected acoustic guitar and drummer they had a very full sound.
Both bands I genuinely liked and fully endorse. I am sure they all have myspaces, but I don't really keep up with that kind of thing. Either way I think despite Jay Reatard's death we have a lot to look forward to again.
Tonight was an even better show, though. The first band - Furcast was amazing. They were like an epic goth-inspired Black Moth Super Rainbow... but no, that would be playing them off as a little bit more derivative, but shit, they were really great. Corridor may have been even better. Merely a heavily-affected acoustic guitar and drummer they had a very full sound.
Both bands I genuinely liked and fully endorse. I am sure they all have myspaces, but I don't really keep up with that kind of thing. Either way I think despite Jay Reatard's death we have a lot to look forward to again.
Monday, January 25, 2010
The Vaccine to Hearing Loss
Whether you love or hate Antone Newcombe this is going to make you feel stronger either way.
Now, despite what Newcombe says in the above video it is not as easy as you might hope to find all of his music on the internet. After struggling though, I did.
This release, I feel, is particularly important to share as the usual and understandable place to start with BJM is Tepid Peppermint Wonderland: A Retrospective. This album was recorded on TVT Records, which as we all know may function more like a major than any other indie. Though actually with even less patience as this was BJM's only record with them, and they were followed by an almost as brief period with GbV. Naturally, the label would not share these tracks for that wonderful compilation. It sure is a shame as the band was on a roll as much as ever and the record highlights many of the band's strong points.
Recorded during their time in Los Angeles, their sound is rooted as much in 60s psychedelia and the Velvets as ever. However, his album named after an 80s Bowie quote not only is the most typically 90s indie rock I've heard from them but also explored the subtle nuances of 90s psychedelia revivalists. There is no better example of this than the Elephant 6 (Specifically Gerbils-esque) pop of "Jennifer," besides maybe "Dawn" with Newcombe seeming emulating Wayne Coyne. Likewise the magnificent opener "Going to Hell" Newcombe gets in touch with his inner Dylan more than just musically to outstanding results. Tracks like "Nothing to Lose," "Dawn," and "Lantern," are typical BJM at their finest being the perfect medium between Spacemen 3 and Rain Parade. This album is a little more acoustic guitar and organ heavy than a lot of BJM's other work, but not of course with any less of Joel Gion's famous tambourine. Keep the revolution going!
The Brian Jonestown Massacre - Strung Out in Heaven (1998)
Now, despite what Newcombe says in the above video it is not as easy as you might hope to find all of his music on the internet. After struggling though, I did.
This release, I feel, is particularly important to share as the usual and understandable place to start with BJM is Tepid Peppermint Wonderland: A Retrospective. This album was recorded on TVT Records, which as we all know may function more like a major than any other indie. Though actually with even less patience as this was BJM's only record with them, and they were followed by an almost as brief period with GbV. Naturally, the label would not share these tracks for that wonderful compilation. It sure is a shame as the band was on a roll as much as ever and the record highlights many of the band's strong points.
Recorded during their time in Los Angeles, their sound is rooted as much in 60s psychedelia and the Velvets as ever. However, his album named after an 80s Bowie quote not only is the most typically 90s indie rock I've heard from them but also explored the subtle nuances of 90s psychedelia revivalists. There is no better example of this than the Elephant 6 (Specifically Gerbils-esque) pop of "Jennifer," besides maybe "Dawn" with Newcombe seeming emulating Wayne Coyne. Likewise the magnificent opener "Going to Hell" Newcombe gets in touch with his inner Dylan more than just musically to outstanding results. Tracks like "Nothing to Lose," "Dawn," and "Lantern," are typical BJM at their finest being the perfect medium between Spacemen 3 and Rain Parade. This album is a little more acoustic guitar and organ heavy than a lot of BJM's other work, but not of course with any less of Joel Gion's famous tambourine. Keep the revolution going!
The Brian Jonestown Massacre - Strung Out in Heaven (1998)
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