God Bless Justin Broadrick. That guy has brought so very much to the world. Napalm Death, Godflesh, Final, Head of David, etc. But beyond that, he's brought us Jesu. I could say that Jesu is the best Metalgaze Drone ambient doom metal pop band in the world, but that's a bit stupid, as only Jesu makes the kind and type of music that they do. Imagine a band inspired in equal part by Killing Joke, Psychick TV and A R Kane. Yeah, that's hard to do, so consider just listening to Jesu, instead.
People are telling me today the world ends. Of course, it's only right and proper to take the piss out on such people- however, I've got an even better idea: give them a soundtrack. Jesu just released Ascension. It's absolutely perfect. If I woke up to a post apocalypse scenario tomorrow, it would make for the absolute perfect sound track. It's full of a beautiful, grand, desolate sadness. It's the sound of a man plagued by demons once the demons have left, and that man realizes those demons were the only friends he had. In other words, it's that painful sensation of first enlightenment, all full of tragedy and transcendence.
But of those of us who do not believe that the rapture is today? It's still a really excellent set of songs to put on the Ipod.
Saturday, May 21, 2011
Wednesday, May 18, 2011
Yeah, I'm in my 40's, what of it?
So, I hit upon Hammerbox on my Ipod twice today, and it got me thinking.
Ask a 20 something about Grunge, and they might talk about Pearl Jam, Nirvana or Soundgarden. Fair enough, I guess. Those of us who were there could name a dozen better bands, but tastes vary, don't they?
Where it gets more interesting is if you ask about female fronted grunge bands. I'm willing to bet that if they can name any, it'll be Hole. Unfortunately, let's just get this out of the way- Hole sucks. Not "Courtney Love sucks". No, Hole as a band sucks. The "songs" at best are derivative of Courtney's collaborators, the playing is tired and vapid, and the image is a lousy attempt at what others did better. Now, I truly loathe Courtney, as only those who know her real name do, but there's enough gossipy bulldada out there. I mean that the best that Hole could do as a band, in a just universe would be overshadowed by several dozen better bands.
So, in an effort to bring about a little of that justice, I'd like to bring up just 4 of those bands that are better. Maybe it'll inspire someone. Heck, maybe, in my little dream world, someone will read this, hear one of these bands and form a band inspired by one of them, and good music will live on.... Yeah, right.
So, first is Hammerbox. They're one of the top 100 bands ever for me. Considering that I've heard literally tens of thousands of bands, just since 1990, when I first heard Hammerbox, let alone the thousands of bands I heard before, it means yes, I really really like them. See, first let's talk dynamics. Most Alt bands just learn dynamics from the Pixies. LOUDquietLOUD, you know? Hammerbox do that, but they also do slowFASTslow, MAJORminorMAJOR, and Oddmeterevenmeter. Think of it as Alt rock with a prog rock education. But that wouldn't work if the songs didn't gel, but they do because of an unerring sense of what feel fits the dynamics- country, jazz, punk, rock, whatever suits. Also, Carrie Akre could sing in ways I've not heard before nor since. She could croon, bellow, snarl, screech and chirp all in the course of one song. For an example, here's their meisterwerk- When 3 is 2. Tell me it's a bad song, go on. Especially the first guitar solo, and the final bridge where Carrie is incoherent. Between those two moments alone, Hammerbox blows away the competition.
Then, There's the Nymphs. Imagine if Courtney Love had actual talent, could focus her rage at targets, and was versed in pagan rites. You're getting close to Inger Lorre. The band played a more metallic version of alt-rock than most. It ends up sounding a bit like a gothic punk version of Led Zeppelin. If that doesn't get you, you might be Sad and Damned. Heheh. Honestly, they had the potential to be the band to inherit the throne Jane's Addiction were abdicating, at the time.
But, we're talking about Grunge, right? When I think of "grunge", more than I think of Nirvana or Alice in Chains, or even Mudhoney, I think of L7. I mean, look at them. Yeesh. But the music? Well, if you like Black Sabbath, Motorhead, The Runaways and the Germs- this would be the result of combining all the above.I read something about some female metal band the other day, about how heavy they were, and I chuckled. L7 were heavier than the Melvins, and never got the credit for it. I can't really explain why people have been so quick to forget L7, except maybe it's that they don't fit preconceived notions- but I cannot think of a single sludge/stoner/doom band that carries over nothing from L7 (yes, the multiple negatives has a meaning) So, listen and decide.
Again, it's not about Courtney. She was actually in a much better band than Hole. Babes in Toyland render Hole completely moot. Virtually everything on the first two Hole records had already been done better by Kat Bjelland's band. There's something dark, chthonic and twisted about Babes in Toyland that places them more in a post-punk setting than grunge, yet, there's enough earthiness that yes, I think they qualify. What they really remind me of, more than music, is the super-gritty horror/exploitation films of the 1970's- Last House on the Left, I spit on Your Grave, Texas Chainsaw massacre- that sort of thing.
See, and that still leaves out at least a dozen bands. I didn't even have to raise the dead, and talk about the Gits, or Seven Year Bitch. But, this little exercise isn't just about some 45 year old's nostalgia- the point is that there are thousands upon thousands of bands, so there is no need to settle upon a single one as representation of any one thing. On top of that, it's to your detriment to accept whatever the mass marketing machine just throws at you. You could do this same exercise wit ummm, Mongolian Hardcore bands, or African Techno artists- the mass media likes for things to have a face put on it- so when Grunge became a thing, they could prepackage it with Kurt and Courtney as the face on it. That did a huge disservice to not only all the bands who were actually better, but also to all the people who were ignorant of the reality of being a small-scale independent rock band in 1992- because they were robbed of getting a rich, and vibrant experience. That's only part of the injustice of accepting mass culture, but I'm not trying to be didactic, just having some fun....
Ask a 20 something about Grunge, and they might talk about Pearl Jam, Nirvana or Soundgarden. Fair enough, I guess. Those of us who were there could name a dozen better bands, but tastes vary, don't they?
Where it gets more interesting is if you ask about female fronted grunge bands. I'm willing to bet that if they can name any, it'll be Hole. Unfortunately, let's just get this out of the way- Hole sucks. Not "Courtney Love sucks". No, Hole as a band sucks. The "songs" at best are derivative of Courtney's collaborators, the playing is tired and vapid, and the image is a lousy attempt at what others did better. Now, I truly loathe Courtney, as only those who know her real name do, but there's enough gossipy bulldada out there. I mean that the best that Hole could do as a band, in a just universe would be overshadowed by several dozen better bands.
So, in an effort to bring about a little of that justice, I'd like to bring up just 4 of those bands that are better. Maybe it'll inspire someone. Heck, maybe, in my little dream world, someone will read this, hear one of these bands and form a band inspired by one of them, and good music will live on.... Yeah, right.
So, first is Hammerbox. They're one of the top 100 bands ever for me. Considering that I've heard literally tens of thousands of bands, just since 1990, when I first heard Hammerbox, let alone the thousands of bands I heard before, it means yes, I really really like them. See, first let's talk dynamics. Most Alt bands just learn dynamics from the Pixies. LOUDquietLOUD, you know? Hammerbox do that, but they also do slowFASTslow, MAJORminorMAJOR, and Oddmeterevenmeter. Think of it as Alt rock with a prog rock education. But that wouldn't work if the songs didn't gel, but they do because of an unerring sense of what feel fits the dynamics- country, jazz, punk, rock, whatever suits. Also, Carrie Akre could sing in ways I've not heard before nor since. She could croon, bellow, snarl, screech and chirp all in the course of one song. For an example, here's their meisterwerk- When 3 is 2. Tell me it's a bad song, go on. Especially the first guitar solo, and the final bridge where Carrie is incoherent. Between those two moments alone, Hammerbox blows away the competition.
Then, There's the Nymphs. Imagine if Courtney Love had actual talent, could focus her rage at targets, and was versed in pagan rites. You're getting close to Inger Lorre. The band played a more metallic version of alt-rock than most. It ends up sounding a bit like a gothic punk version of Led Zeppelin. If that doesn't get you, you might be Sad and Damned. Heheh. Honestly, they had the potential to be the band to inherit the throne Jane's Addiction were abdicating, at the time.
But, we're talking about Grunge, right? When I think of "grunge", more than I think of Nirvana or Alice in Chains, or even Mudhoney, I think of L7. I mean, look at them. Yeesh. But the music? Well, if you like Black Sabbath, Motorhead, The Runaways and the Germs- this would be the result of combining all the above.I read something about some female metal band the other day, about how heavy they were, and I chuckled. L7 were heavier than the Melvins, and never got the credit for it. I can't really explain why people have been so quick to forget L7, except maybe it's that they don't fit preconceived notions- but I cannot think of a single sludge/stoner/doom band that carries over nothing from L7 (yes, the multiple negatives has a meaning) So, listen and decide.
Again, it's not about Courtney. She was actually in a much better band than Hole. Babes in Toyland render Hole completely moot. Virtually everything on the first two Hole records had already been done better by Kat Bjelland's band. There's something dark, chthonic and twisted about Babes in Toyland that places them more in a post-punk setting than grunge, yet, there's enough earthiness that yes, I think they qualify. What they really remind me of, more than music, is the super-gritty horror/exploitation films of the 1970's- Last House on the Left, I spit on Your Grave, Texas Chainsaw massacre- that sort of thing.
See, and that still leaves out at least a dozen bands. I didn't even have to raise the dead, and talk about the Gits, or Seven Year Bitch. But, this little exercise isn't just about some 45 year old's nostalgia- the point is that there are thousands upon thousands of bands, so there is no need to settle upon a single one as representation of any one thing. On top of that, it's to your detriment to accept whatever the mass marketing machine just throws at you. You could do this same exercise wit ummm, Mongolian Hardcore bands, or African Techno artists- the mass media likes for things to have a face put on it- so when Grunge became a thing, they could prepackage it with Kurt and Courtney as the face on it. That did a huge disservice to not only all the bands who were actually better, but also to all the people who were ignorant of the reality of being a small-scale independent rock band in 1992- because they were robbed of getting a rich, and vibrant experience. That's only part of the injustice of accepting mass culture, but I'm not trying to be didactic, just having some fun....
Saturday, May 14, 2011
My face is red
Oi, what a mistake! I don't think I've even mentioned that I've been listening to Wire's new one, Red Barked Tree, since umm, mid January!
To rectify that, there are three basic facts that should be known-
1. Wire is wire, regardless of who's missing. They are the only band I know like that, where one of the core members can be gone for years, and the band still retains the same essence. Robert Gotobed was gone, and it was still wire. Guitar player Bruce Gilbert has been gone much of the millennium, and it's still Wire.
2. Wire isn't punk, or Prog, or post punk, or whatever else. They occupy a completely unique spot, and therefore are outside of pop music conventions. You cannot judge them based upon those parameters. It'd be like judging a comic book and installation Art on the same rubric.
3. Wire are a "foundational" band for me- by which I mean, if not for being a fan of Wire since I was 15, I wouldn't be the same guy, now, 30 years later.
So, yes, I like it, but that's besides the point. How does it hold up to other Wire releases? It's as good as Pink Flag, not as good as Chairs Missing, better than 154, much better than Document and Eyewitness,better than The Ideal Copy, Not as good as A bell is a Cup until its Struck, as good as IBTABA, better than Manscape, a bit better than the First Letter, as good as Send, and better than Object 47. So, basically, I'd say it's the third or fourth Wire record you should buy. Get The Ideal Copy, first. Seriously, it's one of those things that if you really consider it, it will alter your perception, forever. But, after you've got that, and A Bell is a Cup..., and possibly Pink Flag- it's a toss up between this one and Send. Get the picture? It's very good, and if it was the new record by, say, The Killers, I'd be blown away at the improvement in quality, but as far as Wire standards go, it's middle of the pack.
( a quick thank you to Jonathon for reminding me. )
To rectify that, there are three basic facts that should be known-
1. Wire is wire, regardless of who's missing. They are the only band I know like that, where one of the core members can be gone for years, and the band still retains the same essence. Robert Gotobed was gone, and it was still wire. Guitar player Bruce Gilbert has been gone much of the millennium, and it's still Wire.
2. Wire isn't punk, or Prog, or post punk, or whatever else. They occupy a completely unique spot, and therefore are outside of pop music conventions. You cannot judge them based upon those parameters. It'd be like judging a comic book and installation Art on the same rubric.
3. Wire are a "foundational" band for me- by which I mean, if not for being a fan of Wire since I was 15, I wouldn't be the same guy, now, 30 years later.
So, yes, I like it, but that's besides the point. How does it hold up to other Wire releases? It's as good as Pink Flag, not as good as Chairs Missing, better than 154, much better than Document and Eyewitness,better than The Ideal Copy, Not as good as A bell is a Cup until its Struck, as good as IBTABA, better than Manscape, a bit better than the First Letter, as good as Send, and better than Object 47. So, basically, I'd say it's the third or fourth Wire record you should buy. Get The Ideal Copy, first. Seriously, it's one of those things that if you really consider it, it will alter your perception, forever. But, after you've got that, and A Bell is a Cup..., and possibly Pink Flag- it's a toss up between this one and Send. Get the picture? It's very good, and if it was the new record by, say, The Killers, I'd be blown away at the improvement in quality, but as far as Wire standards go, it's middle of the pack.
( a quick thank you to Jonathon for reminding me. )
My name is HENRY, and I'm FINE with That....
Henry just pointed out that you, too, can see the flag: Dave Markey put up the video
Having seen the Flag, both before and after Henry, I gotta say there's no comparison. Not the same band. Black Flag before Henry was a truly dangerous Punk Rock band, but with Henry they became the kind of rebel-without-a-cause unfocused threat that death Metal bands pretend to be. They were human beings, sure, but the thing they were live was like the most dangerous guy you know, on PCP, and armed with a machete. I gave up part of my brain for them. No, seriously. I did one of those "where did everybody go?" stage dives, concussed myself, but refused to leave until I saw the whole show, which caused the brain to get damaged. Even though I cannot remember the show, it was worth it.
What more reason do you need?
Having seen the Flag, both before and after Henry, I gotta say there's no comparison. Not the same band. Black Flag before Henry was a truly dangerous Punk Rock band, but with Henry they became the kind of rebel-without-a-cause unfocused threat that death Metal bands pretend to be. They were human beings, sure, but the thing they were live was like the most dangerous guy you know, on PCP, and armed with a machete. I gave up part of my brain for them. No, seriously. I did one of those "where did everybody go?" stage dives, concussed myself, but refused to leave until I saw the whole show, which caused the brain to get damaged. Even though I cannot remember the show, it was worth it.
What more reason do you need?
Friday, May 13, 2011
The Bloody Beetroots
I'm not trying to pretend to be up on the latest trends. Heck, after the beatdown I've taken this week at work, I'm not trying to claim to be much of anything.
But, I do keep my ear to the ground. I try to see what's coming along, and gauge for myself if it's worthwhile. For example, I think the electronics-infused post-pop coming out of Belgium, the Netherlands, France, Denmark and Germany is worth staying alert over. I'm not saying they'll rule the airwaves, or get lauded in the history books, because pop culture doesn't work that way. Smart stuff like dEUS, Ghinzu, Silence is Sexy, Kashmir, and so on always occupies a kind of "cult" niche. Likewise, some music just isn't fit for mass tastes, like the thrash punk of bands like The Capaces, or the math rock of the United Sons of Toil, because the aesthetics are so far removed from mainstream "pop". However, I think such things are worth hearing because they're exploring the limits of pop music in interesting ways. Then, of course, some stuff, whether it garners mainstream attention or not, is just worthwhile, and I feel like it's just as snobbish to turn down the popular as it is to turn down the unpopular- such is the case with a lot of the Stoner/Doom metal coming out of the deep south like Kylesa and Torche.
So, what I'm saying is that, like the title of the Blog, I'm finding my best path is individual, not mass. I've already gone over the theoretical underpinnings so I won't go there again- but I'm still surprised when the individualistic, idiosyncratic path converges with the mainstream. Exhibit A would be the Bloody Beetroots. They're not playing MTV or Clear Channel. They're actually pretty damn smart, and artistically ambitious. They play a challenging melange of dubstep, techno, minimalism and experimental electronics. Minus the 4 on the floor dance elements, they'd be right there with early industrial noise merchants like Non, SPK, Throbbing Gristle and Whitehouse. So, it surprises me that by casting the net so wide out onto "long tail" territory, they're able to garner the fanbase they have. We're talking thousands of folks paying to see an italian duo (or trio) wearing Venom masks, quoting situationists, playing atonal noise at bonesplintering volume, and liking it. I know it's a validation of what I believe (that the modern marketplace, due to the widespread availability of quality recording gear, and the easy distribution offered up by the internet now isn't about "stars" but about audiences gathering around shared tastes) but it still surprises me to see it laid out so starkly. My son's friends hear Bloody Beetroots tracks, and decide to put it on their Ipads- and we're talking teenagers who otherwise listen to Linkin Park or Katy Perry. That impresses me. So, even if you don't share my enthusiasm for their music, I'd suggest you watch how the process unfolds. I think it promises to be fascinating. I'm not saying that as an arbiter of taste, but rather as just a guy who's been watching this shiny machine we call pop culture for over a quarter century. There is something new under the sun, but what it is, remains to be determined.
But, I do keep my ear to the ground. I try to see what's coming along, and gauge for myself if it's worthwhile. For example, I think the electronics-infused post-pop coming out of Belgium, the Netherlands, France, Denmark and Germany is worth staying alert over. I'm not saying they'll rule the airwaves, or get lauded in the history books, because pop culture doesn't work that way. Smart stuff like dEUS, Ghinzu, Silence is Sexy, Kashmir, and so on always occupies a kind of "cult" niche. Likewise, some music just isn't fit for mass tastes, like the thrash punk of bands like The Capaces, or the math rock of the United Sons of Toil, because the aesthetics are so far removed from mainstream "pop". However, I think such things are worth hearing because they're exploring the limits of pop music in interesting ways. Then, of course, some stuff, whether it garners mainstream attention or not, is just worthwhile, and I feel like it's just as snobbish to turn down the popular as it is to turn down the unpopular- such is the case with a lot of the Stoner/Doom metal coming out of the deep south like Kylesa and Torche.
So, what I'm saying is that, like the title of the Blog, I'm finding my best path is individual, not mass. I've already gone over the theoretical underpinnings so I won't go there again- but I'm still surprised when the individualistic, idiosyncratic path converges with the mainstream. Exhibit A would be the Bloody Beetroots. They're not playing MTV or Clear Channel. They're actually pretty damn smart, and artistically ambitious. They play a challenging melange of dubstep, techno, minimalism and experimental electronics. Minus the 4 on the floor dance elements, they'd be right there with early industrial noise merchants like Non, SPK, Throbbing Gristle and Whitehouse. So, it surprises me that by casting the net so wide out onto "long tail" territory, they're able to garner the fanbase they have. We're talking thousands of folks paying to see an italian duo (or trio) wearing Venom masks, quoting situationists, playing atonal noise at bonesplintering volume, and liking it. I know it's a validation of what I believe (that the modern marketplace, due to the widespread availability of quality recording gear, and the easy distribution offered up by the internet now isn't about "stars" but about audiences gathering around shared tastes) but it still surprises me to see it laid out so starkly. My son's friends hear Bloody Beetroots tracks, and decide to put it on their Ipads- and we're talking teenagers who otherwise listen to Linkin Park or Katy Perry. That impresses me. So, even if you don't share my enthusiasm for their music, I'd suggest you watch how the process unfolds. I think it promises to be fascinating. I'm not saying that as an arbiter of taste, but rather as just a guy who's been watching this shiny machine we call pop culture for over a quarter century. There is something new under the sun, but what it is, remains to be determined.
Wednesday, May 11, 2011
Nice Abortion joke
There aren't any nice abortion jokes, are there? Maybe somebody should tell The Coathangers, because apart from the name and some forceful vocals, they actually come across as pretty nice. I know I'm late to the party on them, but that's ok by me because it doesn't really seem like my kinda shindig. I'd love to be really positive on them, and they do have some moments, but really, they're more interesting as a concept than as a band. Basically, it's Punk Rock 101- a bunch of people start a band even though they're rank amateurs. The problem is that this was always a bit of a myth. Bands like the Clash and The Vibrators had members who'd been playing for years, and other bands, like Wire and the Buzzcocks were using amateurishness as a mythmaking venture, when really they were better than they let on. It was actually the rare punk band that couldn't actually play their instruments, and I can only think of one instance where it worked- the Germs, and even then, they were fast learners, and by the time they were really interesting, they were halfway decent musicians. Much like the nice abortion joke, it's something that seems like it should be possible, but really there aren't any really good bands that have no musicality. So, the Coathangers have moments, but really, they should woodshed a bit, and come back when they have a bit more accomplishment to go with the confidence.
Still,there is raw talent there, and if they did more like this, I'd say they really have something.
Still,there is raw talent there, and if they did more like this, I'd say they really have something.
Tuesday, May 10, 2011
Proof that I don't just listen to old stuff with good vocals.
So, enough nostalgia and reflection! I listen to a couple dozen records a week, and not all of them are old things that I've listened to before. Here's the new stuff I listened to this week:
These Branches- This one's on You. - Such a shame! this is a really good mod-ish punky power pop band ruined by a lousy singer. Now, as a fan of guys like Frankie NW Stubbs and Lemmy, I can take some unusual singing styles, but this guy just has no real tune to his voice. So if you can really tune out vocals, this is a pretty good record, but that voice.....
Ruptures- Adormidera. Super angular hardcore-influenced chaos metal. Like Blood Brothers meets Botch to play 1st album Refused songs. No, the vocals aren't spectacular, but the post-everything thrash makes up for it. Then, just when you think you have a handle on this breed of aggression, they play a melodic interlude like "Soma", and you're confused by it. I think the edge they're going for is "constantly unsettled". It's more than the sum of the parts. It's good- but only if you can stand the mathy chaos.
Damascus- Salutations, Distant Satellite! Really good post rock. I know, I know- post rock is pretentious jazz fusion for jerks who couldn't actually generate enough swing to play jazz fusion. This is like the more linear, yet still proggy bits of bands like Mars Volta, but subtracting the vocals. I can appreciate it- it's decent listening, that gets the mix of volume and gentleness to do instrumental rock.
Old Growth- out of the sand and into the streets. Really garage rock. No, I don't mean that they play stuff that's stylistically "garage"- I mean they sound authentically like they a bunch of dudes rocking out in their garage, trying to do a bargain basement version of "rawk'. I haven't checked, but I bet they love grunge bands, and I bet not a one of them is over 25. Add 10 years, and 100,000 bucks and they'd be Nickelback, and would add to the "suck" quota in the world, but as it stands, I bet they have a core following of friends who are blown away by their genius. If I could offer them any advice it would be to stay in the garage. Don't progress- keep it as raw as this, and you'll eventually turn into Crazy Horse, and that's infinitely better than Nickelback.
Also, not exactly a new thing, but getting newer- check out the Bloody Beetroots website. I could really join the Church of Noise.
These Branches- This one's on You. - Such a shame! this is a really good mod-ish punky power pop band ruined by a lousy singer. Now, as a fan of guys like Frankie NW Stubbs and Lemmy, I can take some unusual singing styles, but this guy just has no real tune to his voice. So if you can really tune out vocals, this is a pretty good record, but that voice.....
Ruptures- Adormidera. Super angular hardcore-influenced chaos metal. Like Blood Brothers meets Botch to play 1st album Refused songs. No, the vocals aren't spectacular, but the post-everything thrash makes up for it. Then, just when you think you have a handle on this breed of aggression, they play a melodic interlude like "Soma", and you're confused by it. I think the edge they're going for is "constantly unsettled". It's more than the sum of the parts. It's good- but only if you can stand the mathy chaos.
Damascus- Salutations, Distant Satellite! Really good post rock. I know, I know- post rock is pretentious jazz fusion for jerks who couldn't actually generate enough swing to play jazz fusion. This is like the more linear, yet still proggy bits of bands like Mars Volta, but subtracting the vocals. I can appreciate it- it's decent listening, that gets the mix of volume and gentleness to do instrumental rock.
Old Growth- out of the sand and into the streets. Really garage rock. No, I don't mean that they play stuff that's stylistically "garage"- I mean they sound authentically like they a bunch of dudes rocking out in their garage, trying to do a bargain basement version of "rawk'. I haven't checked, but I bet they love grunge bands, and I bet not a one of them is over 25. Add 10 years, and 100,000 bucks and they'd be Nickelback, and would add to the "suck" quota in the world, but as it stands, I bet they have a core following of friends who are blown away by their genius. If I could offer them any advice it would be to stay in the garage. Don't progress- keep it as raw as this, and you'll eventually turn into Crazy Horse, and that's infinitely better than Nickelback.
Also, not exactly a new thing, but getting newer- check out the Bloody Beetroots website. I could really join the Church of Noise.
Saturday, May 7, 2011
Lady Gaga
Ok, I just finished watching her "Monster's Ball" HBO special. I went in not a fan, and afterwards, I'm even less of a fan. Ye gads. I don't want to use this space to crap on people and their taste, but that was truly awful. I got more enjoyment out of what else I was doing- sorting laundry and playing with my cats. I've said that Lady Gaga was just Madonna meets Marilyn Manson, but I wasn't quite right. Add in a liberal dose of Bette Midler and a hefty dose of November Rain Guns N Roses, and you get a better idea of the wretchedness. I actually like Madonna, so I think I'm going to have to come up with some new comparisons, here. It was like watching some Bible Camp wannabe try to play at being a rock star. If I had a daughter, and she liked Lady Gaga, I think I'd bring her in for therapy. That might sound like a joke, but I'm serious- I'd be hoping that the doc would find some hearing damage or something.
I truly cannot understand how anyone can enjoy this soulless, gutless, humorless garbage. I watched this because I've got friends who like her, and have been telling me to give her a chance. Much like Glee, Nickelback, and Joan Rivers, I feel like watching that actually took something away from me, and made me less of a human being. So, she could do a complete 180, and release something utterly genius but it's too late- I won't give her any more chances. What utter shite.....
I truly cannot understand how anyone can enjoy this soulless, gutless, humorless garbage. I watched this because I've got friends who like her, and have been telling me to give her a chance. Much like Glee, Nickelback, and Joan Rivers, I feel like watching that actually took something away from me, and made me less of a human being. So, she could do a complete 180, and release something utterly genius but it's too late- I won't give her any more chances. What utter shite.....
Friday, May 6, 2011
Ancient History
Sudden moment of Nostalgia; please forgive.
I was just thinking about the turning point to make me really like music.
My father, amoungst other things, is a bit of a musician,and my Mother, typical of preacher's wives, knew church choirs like other mothers know soap operas. So, I had exposure, but wasn't truly interested in music until much later. I was never really fond of rock and roll, in the seventies. Oh, sure, I got into Kiss, but that was much more a fashion thing than anything else; I thought they looked cool, more than I liked the music. Actually, I still cannot think of a Kiss song I really like. I much preferred Parliament/Funkadelic, and the O'Jays and Curtis Mayfield. I got into David Bowie because of the Young Americans Album, moreso than Ziggy Stardust. Around 1978-1979 that started to change as I started to hear what I called then "New Wave" music. Oh, like most kids, I got it wrong, at first- figuring bands like Australia's Angels, and Chicago's Cheap Trick to be real New Wave. But, then, in 1979 I heard what would become my first favorite record, and the gateway drug to the musical addiction I have now: The Clash. No, I didn't get into The Ramones or the Sex Pistols, like everybody else. The Clash was the big one for me. Of course, I went back and forth- I was still just a kid. So, I'd be listening to The Gap band with one set of friends, then, listen to Blondie with another. In late 1980, I finally got really turned on to what I liked, but didn't know it, yet: Punk Rock. I got invited to a punk Rock show, and found my tribe. Oh sure, I was never really accepted, and remain a poseur, even now, 30 years later; but the shows at the Vex, and the Fleetwood, and Fender's ballroom and Safari Sam's- that was the real connection. I knew from that what I liked, and who I wanted to be. Records were just a maintenance- a way of keeping that connection to those shows. Eventually, I could get into records on their own, but the real hook for me- the thing that the Clash had, was that electrical connection of real people, right there, making music out of thin air, right in front of your eyes. That's why I never got into Rock and Roll prior to Punk Rock- it all sounded like some Television show, assembled by many hands into some kind of production. Going to a Punk Rock show you could see it, feel it, hear it, and connect with it. I still liked Dance/Disco/RnB- and still do, but it's a totally different thing- it's a soundtrack, a foundation for the action on the dance floor, or the gym. It's not like the connection I still feel from raw, direct rock- whether you call that rock "punk" or "new wave" or "Stoner" or "Alternative".
It's all ancient history, now. I'm a middle class guy, settling into middle age. I'm a father of a college kid, for crying out loud. But every once in awhile, I remember that raw spark of my teenage entry into being the beat fanatic that I still most obviously am.
I was just thinking about the turning point to make me really like music.
My father, amoungst other things, is a bit of a musician,and my Mother, typical of preacher's wives, knew church choirs like other mothers know soap operas. So, I had exposure, but wasn't truly interested in music until much later. I was never really fond of rock and roll, in the seventies. Oh, sure, I got into Kiss, but that was much more a fashion thing than anything else; I thought they looked cool, more than I liked the music. Actually, I still cannot think of a Kiss song I really like. I much preferred Parliament/Funkadelic, and the O'Jays and Curtis Mayfield. I got into David Bowie because of the Young Americans Album, moreso than Ziggy Stardust. Around 1978-1979 that started to change as I started to hear what I called then "New Wave" music. Oh, like most kids, I got it wrong, at first- figuring bands like Australia's Angels, and Chicago's Cheap Trick to be real New Wave. But, then, in 1979 I heard what would become my first favorite record, and the gateway drug to the musical addiction I have now: The Clash. No, I didn't get into The Ramones or the Sex Pistols, like everybody else. The Clash was the big one for me. Of course, I went back and forth- I was still just a kid. So, I'd be listening to The Gap band with one set of friends, then, listen to Blondie with another. In late 1980, I finally got really turned on to what I liked, but didn't know it, yet: Punk Rock. I got invited to a punk Rock show, and found my tribe. Oh sure, I was never really accepted, and remain a poseur, even now, 30 years later; but the shows at the Vex, and the Fleetwood, and Fender's ballroom and Safari Sam's- that was the real connection. I knew from that what I liked, and who I wanted to be. Records were just a maintenance- a way of keeping that connection to those shows. Eventually, I could get into records on their own, but the real hook for me- the thing that the Clash had, was that electrical connection of real people, right there, making music out of thin air, right in front of your eyes. That's why I never got into Rock and Roll prior to Punk Rock- it all sounded like some Television show, assembled by many hands into some kind of production. Going to a Punk Rock show you could see it, feel it, hear it, and connect with it. I still liked Dance/Disco/RnB- and still do, but it's a totally different thing- it's a soundtrack, a foundation for the action on the dance floor, or the gym. It's not like the connection I still feel from raw, direct rock- whether you call that rock "punk" or "new wave" or "Stoner" or "Alternative".
It's all ancient history, now. I'm a middle class guy, settling into middle age. I'm a father of a college kid, for crying out loud. But every once in awhile, I remember that raw spark of my teenage entry into being the beat fanatic that I still most obviously am.
Wednesday, May 4, 2011
The Haul
OK, so of course to me, the most important part of my recent birthday was the love and time with friends and family. However, that does squat for anybody who might read this. You want to hear about the presents, right?
So, here's a partial list of the haul. More to come, but here's where we are at:
Books- I'm in the Band by Sean Yseult, Destroy all movies by Carlson Connolly, Husker Du the story of the Noise Pop Pioneers Who Launched Modern Rock by Andrew Earles,Waldo's Hawaiian Holiday by alex Cox, a left handed notebook, and George Nicholas and Wilhelm by Miranda Carter.
Clothes- A grey Hoodie from H&M, as well as a striped grey shirt from H&M, and a Clash T shirt from H&M. Also, a pair of Skull and Crossbone socks, A Parliament/Funkadelic Dope Dog T shirt, and a purple striped Tie.
DVDS- The complete Prisoner TV series set, TNA's Knocked Out DVD, and The Girl with the Dragon Tattoo.
CDs- The Singles collection by the Chemical Brothers
Other miscellany- a $25 Itunes card, some Bumble and bumble hair thickening agent, and a really excellent Brazilian meal at Chima.
Like I said, there will be more. But there you go. I like all of it, and love everyone who gave me the haul
So, here's a partial list of the haul. More to come, but here's where we are at:
Books- I'm in the Band by Sean Yseult, Destroy all movies by Carlson Connolly, Husker Du the story of the Noise Pop Pioneers Who Launched Modern Rock by Andrew Earles,Waldo's Hawaiian Holiday by alex Cox, a left handed notebook, and George Nicholas and Wilhelm by Miranda Carter.
Clothes- A grey Hoodie from H&M, as well as a striped grey shirt from H&M, and a Clash T shirt from H&M. Also, a pair of Skull and Crossbone socks, A Parliament/Funkadelic Dope Dog T shirt, and a purple striped Tie.
DVDS- The complete Prisoner TV series set, TNA's Knocked Out DVD, and The Girl with the Dragon Tattoo.
CDs- The Singles collection by the Chemical Brothers
Other miscellany- a $25 Itunes card, some Bumble and bumble hair thickening agent, and a really excellent Brazilian meal at Chima.
Like I said, there will be more. But there you go. I like all of it, and love everyone who gave me the haul
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