Dig out your old copy and enjoy!
Thursday, January 3, 2013
The Hipster Handbook turns 10.
Dig out your old copy and enjoy!
Monday, December 24, 2012
The 2012 Playlist
2. Tyson's High School - Guided By Voices
3. No.1 Against The Rush - Liars
4. The End Of The World Is Bigger Than Love - Jens Lekman
5. Freaking Out the Neighborhood - Mac Demarco
6. The Unpaid Extras - Spencer Owen
7. Shallows - The Mallard
8. Waving At Airplanes - Guided By Voices
9. Applesauce - Animal Collective Centipede Hz
10. Temple Of Unfed Fire - Pepe Deluxé
11. Point of You - Super River
12. In The Dark - Nite Jewel
13. Moving Like Mike - Mac DeMarco
14. Radiation - Sunfighter Sweet Machine
15. Is This The Best Spot - Ariel Pink's Haunted Graffiti
16. Traveling - Tennis Young And Old
17. Scarf - Colin O'Brien-Lux
18. All Of This Will Go - Guided By Voices
Sorry my technology is not good enough to have it to you. It's all pretty obvious stuff, and if it's not you can probably download it for free on bandcamp. If you know me personally I'll hook you up.
Also, didn't mention reissues at all this year. They're pretty much all I buy, but I never keep track of their dates. The Trypes Music For Neighbors is essential. Best thing I bought this year, maybe ever. If you're like me and grew up in suburban New Jersey you need to get it RIGHT NOW. If not you don't have to rush as much, but shouldn't waste any time.
Yes, you can also expect an all Guided by Voices list, what I would hope would have been the case if they only released on LP this year.
Thursday, December 6, 2012
End of the Year Lists
So as always there's a lot I haven't check out yet. Guess what they are... Odd thing is this year really made me believe in new music, but it was mostly because of albums from other years. Especially last year. Last year was amazing, wish I noticed more at the time. This year, pretty good, but not as good. Doing a rush job as always.
Top 10 albums:
1. Super River - This One Reminds Me the Most of Us
Yeah, so what if my favorite album of the year is my own band's. I'm not gonna try to fool anyone into thinking otherwise.
2. Guided By Voices - The Bears For Lunch
3. Mac DeMarco - 2
4. Sunfighter - Sweet Machine
Not gonna pretend about my friends either.
5. Ariel Pink's Haunted Graffiti - Mature Themes
6. Animal Collective - Centipede Hz
Yeah, it's their weakest in a while, but still great, no need to be so harsh, everyone!
7. The Mallard - Yes On Blood
I hope they'll finally admit they're way better than Thee Oh Sees now.
8. Mac DeMarco - Rock and Roll Night Club
9. Guided By Voices - Class Clown Spots a UFO
This one has their best songs of the year.
10. Tame Impala - Lonerism
Top 5 Songs:
1. Guided by Voices - "All of This Will Go"
2. Super River - "Origami Heart" - not sure if I'm just being modest here, though.
3. Animal Collective - "Applesauce"
4. Swans - "The Seer"
5. Nite Jewel - "In The Dark"
These lists mean nothing. The best show I went to this year (or ever) was BIG (now Ewox)/Johnny's Retirement Fund in my living room.
Top 10 albums:
Yeah, so what if my favorite album of the year is my own band's. I'm not gonna try to fool anyone into thinking otherwise.
2. Guided By Voices - The Bears For Lunch
3. Mac DeMarco - 2
4. Sunfighter - Sweet Machine
Not gonna pretend about my friends either.
5. Ariel Pink's Haunted Graffiti - Mature Themes
6. Animal Collective - Centipede Hz
Yeah, it's their weakest in a while, but still great, no need to be so harsh, everyone!
7. The Mallard - Yes On Blood
I hope they'll finally admit they're way better than Thee Oh Sees now.
8. Mac DeMarco - Rock and Roll Night Club
9. Guided By Voices - Class Clown Spots a UFO
This one has their best songs of the year.
10. Tame Impala - Lonerism
Top 5 Songs:
2. Super River - "Origami Heart" - not sure if I'm just being modest here, though.
3. Animal Collective - "Applesauce"
4. Swans - "The Seer"
5. Nite Jewel - "In The Dark"
These lists mean nothing. The best show I went to this year (or ever) was BIG (now Ewox)/Johnny's Retirement Fund in my living room.
Tuesday, October 2, 2012
Animal Collective at the Hollywood Bowl
Took a while to get to this since I was busy the past week with AMAZING, unreviewable shows by Ewox, the Darflers, Sunfighter, Super River, the Spencer Owen Limited, The Midnite Snackers, The Buttgays, Spacehook, and an all-star group featuring myself, Kathryne Dameron, Alex Heerman, Miles Marsico, Alex Halitsis, Theresa Rife, and Danielle Peña.
So then the weekend before...
I didn't catch all of the first act, Huun Huur Tu, but what I saw was pretty incredible. The Central Asian group had a droning sound that mixed traditional music with the future. It was very easy to see why the members of the headlining group like them so much. The first song featured an electronics guest we nicknamed "DJ Barack Obama" because of his appearance. That part was real cool, but the rest of the set was no less future-oriented.
Flying Lotus is an artist that doesn't make my kind of music. Despite this I like most of what I had heard prior to the set, so my expectations were sort of high. I don't think he's really ideal for such a large venue, and I am certain I would have enjoyed his set much more in a smaller, more danceable venue. It had some really cool moments, but I found there to be too many dramatic changes, especially in the way of getting a groove going. Some of his bass sounds were linked to use of ecstasy, so as a drony bass player that turned me off ever trying that drug. That's the trouble with most new electronic music. However, his talent is evident, and as a local it was exciting to see him play the Bowl for the first time. His light show was quite good at times too, perhaps even more consistently than the headliner's.
If you can believe it, this was the first time I had seen Animal Collective after many years of being a fan. I instantly regretted all the times I missed out on them in smaller venues, but this show had its own set of privileges. You will seldom get the chance to see this band with such a familiar set list. There was only one new song, which I can't really remember. Most of the new record was played, and my appreciation for it grew, though not to the level of the previous four. Of those songs "Applesauce," "New Town Burnout" and the Deakin-sang "Wide Eyed" were the standouts. Their older material was represented better than I would have expected, particularly from Merriweather. The set opened with "Also Frightened" and not surprisingly "My Girls" was a major standout, but not as much as "Brother Sport" which also had the best light show. They dug out not only "Peacebone" (which sadly was brought down by the barely-believably obnoxious kids behind us), but also "Cobwebs."
I was glad to have Deakin onstage for my first Animal Collective show. His contributions on the Merriweather material was perfect, adding more to the arrangement without attracting any specific attention. Likewise, the shift to him on lead vocals made things flow even better. He played electronic percussion about as much as electric guitar. Other members (not Geologist of course) surprised me with their set-ups as well. Panda sat at a kit, though one far from traditional and very visible. However, he was seated the whole time. Avey wasn't close behind in that aspect. I had never thought of him as a keyboard player, but he was on them at least half the time, always seated, in addition to electric guitar.
As expected it was a near-perfect show, the only complaints I could give are the size of the venue and that there was too much sitting, both from the band and the audience.
So then the weekend before...
I didn't catch all of the first act, Huun Huur Tu, but what I saw was pretty incredible. The Central Asian group had a droning sound that mixed traditional music with the future. It was very easy to see why the members of the headlining group like them so much. The first song featured an electronics guest we nicknamed "DJ Barack Obama" because of his appearance. That part was real cool, but the rest of the set was no less future-oriented.
Flying Lotus is an artist that doesn't make my kind of music. Despite this I like most of what I had heard prior to the set, so my expectations were sort of high. I don't think he's really ideal for such a large venue, and I am certain I would have enjoyed his set much more in a smaller, more danceable venue. It had some really cool moments, but I found there to be too many dramatic changes, especially in the way of getting a groove going. Some of his bass sounds were linked to use of ecstasy, so as a drony bass player that turned me off ever trying that drug. That's the trouble with most new electronic music. However, his talent is evident, and as a local it was exciting to see him play the Bowl for the first time. His light show was quite good at times too, perhaps even more consistently than the headliner's.
If you can believe it, this was the first time I had seen Animal Collective after many years of being a fan. I instantly regretted all the times I missed out on them in smaller venues, but this show had its own set of privileges. You will seldom get the chance to see this band with such a familiar set list. There was only one new song, which I can't really remember. Most of the new record was played, and my appreciation for it grew, though not to the level of the previous four. Of those songs "Applesauce," "New Town Burnout" and the Deakin-sang "Wide Eyed" were the standouts. Their older material was represented better than I would have expected, particularly from Merriweather. The set opened with "Also Frightened" and not surprisingly "My Girls" was a major standout, but not as much as "Brother Sport" which also had the best light show. They dug out not only "Peacebone" (which sadly was brought down by the barely-believably obnoxious kids behind us), but also "Cobwebs."
I was glad to have Deakin onstage for my first Animal Collective show. His contributions on the Merriweather material was perfect, adding more to the arrangement without attracting any specific attention. Likewise, the shift to him on lead vocals made things flow even better. He played electronic percussion about as much as electric guitar. Other members (not Geologist of course) surprised me with their set-ups as well. Panda sat at a kit, though one far from traditional and very visible. However, he was seated the whole time. Avey wasn't close behind in that aspect. I had never thought of him as a keyboard player, but he was on them at least half the time, always seated, in addition to electric guitar.
As expected it was a near-perfect show, the only complaints I could give are the size of the venue and that there was too much sitting, both from the band and the audience.
Thursday, September 13, 2012
THE WITHERS/PEOPLE'S TEMPLE/BLANK TAPES
Firstly, I don't review local bands so no comment on the Withers in this forum.
People's Temple come from Lansing, Michigan which I would have seen as a good sign if they hadn't already been commanding the stage before announcing that. As I found out after buying both their LP and latest single they are comprised of two sets of brothers which brings me to my one detraction that they were a bit too masculine. Nothing wrong with that, especially when you never stop or slow down. This band had me hooked pretty much the entire time. Looking and sounding like everything great about the 70s their tight energetic hard rock ran the gamut from funky kraut to glammy new wave and everywhere in between. It would be unfair to call the lead guitarist the standout, but his unique Les Paul style was something to behold especially when simultaneously evoking Dick Dale and Phil Manzanera. The drumming was relentless in it's power and as Miles commented, the player reminded him of Grant Hart at his peak. The songs made you move while frying your brain which is really what I look for most in a band. Towards the end of the set there was one real stinker though that made me question if I had even liked them up to that point despite witnessing the best harmonica playing of my life mere moments before. I don't know what happened but they recovered and solidified their status as the best 70s rock band you will live to see.
I didn't stick around for much of Blank Tapes for personal reasons, but that's okay. They were from San Francisco and it was really obvious. In fact they should be called "Four Nice Kids from San Francisco," but then no one would see them. The bassist wore a goofy hat and played a violin bass, the girl played a snare and floor tom with mallets and the twang in her voice wasn't sincere. The guy playing a hollow body guitar was a better vocalist, but the whole thing was just too light. Then there was a guy with glasses and one tambourine in the back.
I haven't listened to the People's Temple records yet, but that will change soon. Either way they are to the 70s what the Brian Jonestown Massacre was to the 60s.
People's Temple come from Lansing, Michigan which I would have seen as a good sign if they hadn't already been commanding the stage before announcing that. As I found out after buying both their LP and latest single they are comprised of two sets of brothers which brings me to my one detraction that they were a bit too masculine. Nothing wrong with that, especially when you never stop or slow down. This band had me hooked pretty much the entire time. Looking and sounding like everything great about the 70s their tight energetic hard rock ran the gamut from funky kraut to glammy new wave and everywhere in between. It would be unfair to call the lead guitarist the standout, but his unique Les Paul style was something to behold especially when simultaneously evoking Dick Dale and Phil Manzanera. The drumming was relentless in it's power and as Miles commented, the player reminded him of Grant Hart at his peak. The songs made you move while frying your brain which is really what I look for most in a band. Towards the end of the set there was one real stinker though that made me question if I had even liked them up to that point despite witnessing the best harmonica playing of my life mere moments before. I don't know what happened but they recovered and solidified their status as the best 70s rock band you will live to see.
I didn't stick around for much of Blank Tapes for personal reasons, but that's okay. They were from San Francisco and it was really obvious. In fact they should be called "Four Nice Kids from San Francisco," but then no one would see them. The bassist wore a goofy hat and played a violin bass, the girl played a snare and floor tom with mallets and the twang in her voice wasn't sincere. The guy playing a hollow body guitar was a better vocalist, but the whole thing was just too light. Then there was a guy with glasses and one tambourine in the back.
I haven't listened to the People's Temple records yet, but that will change soon. Either way they are to the 70s what the Brian Jonestown Massacre was to the 60s.
Wednesday, September 12, 2012
The Mallard with Thee Oh Sees and Sic Alps 9/9/12
Wow, it's been a real long time since I posted, but it takes a lot to motivate me away from my own band Super River which has occupied most of my time for the past year.
So I went to this show with three of my band mates Sunday night. We missed the first band that played. I heard they were good, but that came from someone whose taste I question. We were planning to miss the second band as well, but thank god that didn't happen.
The curtain went up at the El Rey and the four-piece was lined up in a row. Apparently they don't do that all the time which is disappointing but immediately my eyes were locked on their drummer despite him being flanked by two beautiful women slinging guitars. His beats and motion were unlike anything else I've seen, innovative, clean, yet painful. It helped that everything else about this band was great. They had a cohesive noisy sound with by far the best energy and songwriting I saw all night. While performing they were such a single unit it was impossible to tell if they even had a single leader. I found out later it's frontwoman/guitarist/songwriter/engineer Greer McGettrick, but what can you do? The rest of the band was no less talented, especially evident after lead guitarist and bassist switched instruments and revealed themselves to be better in the latter role. We seemed to be the only people in the audience who got it, sadly, despite for the relatives of one member standing near us. Well with that crowd what could you expect...
The Sic Alps were revealed and their hippie-ish lead guitarist stuck out the most. His playing was one of the best parts, but who cares? The singer and drummer were both wearing baseball caps which begged the comparison to the Beastie Boys. It was embarrassing, especially after I heard that the band used to just be the two of them. So apparently they used to not have a bass player. More on that later... Bottom line they lacked any essence, I couldn't even tell what they were going for. None of us could! I may have thought they were okay apart from the aesthetic if I hadn't just seen the Mallard, but I was the lucky one, not them.
Then there was Thee Oh Sees. For years this band had never connected with me. I had just been waiting them to be my next Deerhunter and finally catch up and hear what I'd been missing. Turns out I wasn't missing a thing. Judging by the crowd's reaction, the band's energy and enthusiasm, and the tightness of the songs I am certain this was not just an "off night."
If I hadn't already known that this "band" was a product of the god-awful New England hardcore scene of yore I would have known it instantly. It's like ska, even if you move to SF and drop a lot of acid that's still what you are. Then I see there's no bass player, just some skinhead with a guitar and an octave pedal playing repeated bass lines like a machine. Wow. This review should end there. It's almost always the worst choice to not have a bass player (local newcomers Spaceships suggest otherwise), but if you're gonna cut it at least CUT IT. So I stood there for hours of this hardcore kid soloing while his backing band did a job that could be done more easily with Fruity Loops. This band I from now on will describe as "The Olive Garden of Psychedelia" was actually more boring live than on their rushed, spotty records.
So basically buy the below record and forget the other two bands exist. If you're reading this I'm sure you don't have time for them.
So I went to this show with three of my band mates Sunday night. We missed the first band that played. I heard they were good, but that came from someone whose taste I question. We were planning to miss the second band as well, but thank god that didn't happen.
The curtain went up at the El Rey and the four-piece was lined up in a row. Apparently they don't do that all the time which is disappointing but immediately my eyes were locked on their drummer despite him being flanked by two beautiful women slinging guitars. His beats and motion were unlike anything else I've seen, innovative, clean, yet painful. It helped that everything else about this band was great. They had a cohesive noisy sound with by far the best energy and songwriting I saw all night. While performing they were such a single unit it was impossible to tell if they even had a single leader. I found out later it's frontwoman/guitarist/songwriter/engineer Greer McGettrick, but what can you do? The rest of the band was no less talented, especially evident after lead guitarist and bassist switched instruments and revealed themselves to be better in the latter role. We seemed to be the only people in the audience who got it, sadly, despite for the relatives of one member standing near us. Well with that crowd what could you expect...
The Sic Alps were revealed and their hippie-ish lead guitarist stuck out the most. His playing was one of the best parts, but who cares? The singer and drummer were both wearing baseball caps which begged the comparison to the Beastie Boys. It was embarrassing, especially after I heard that the band used to just be the two of them. So apparently they used to not have a bass player. More on that later... Bottom line they lacked any essence, I couldn't even tell what they were going for. None of us could! I may have thought they were okay apart from the aesthetic if I hadn't just seen the Mallard, but I was the lucky one, not them.
Then there was Thee Oh Sees. For years this band had never connected with me. I had just been waiting them to be my next Deerhunter and finally catch up and hear what I'd been missing. Turns out I wasn't missing a thing. Judging by the crowd's reaction, the band's energy and enthusiasm, and the tightness of the songs I am certain this was not just an "off night."
If I hadn't already known that this "band" was a product of the god-awful New England hardcore scene of yore I would have known it instantly. It's like ska, even if you move to SF and drop a lot of acid that's still what you are. Then I see there's no bass player, just some skinhead with a guitar and an octave pedal playing repeated bass lines like a machine. Wow. This review should end there. It's almost always the worst choice to not have a bass player (local newcomers Spaceships suggest otherwise), but if you're gonna cut it at least CUT IT. So I stood there for hours of this hardcore kid soloing while his backing band did a job that could be done more easily with Fruity Loops. This band I from now on will describe as "The Olive Garden of Psychedelia" was actually more boring live than on their rushed, spotty records.
So basically buy the below record and forget the other two bands exist. If you're reading this I'm sure you don't have time for them.
Friday, June 17, 2011
Meat Puppets 6/16/11
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.
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.
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.
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