Blackmail

There are probably too many bands with "black" as part of their name, so points deducted for the name.
On top of that, there's something willfully obscure about the band. They sing in English, but they're a decidedly German band. I mean, the only way I could get any of their music was either illegally, or via German Itunes or German Amazon. So- unless I'm a German who speaks English, I'm afraid I'd be out of the target demographic- and thus it's very likely that unless you are a German who speaks English, you won't have heard of Blackmail, apart from the criminal act. But such is my dedication that when i was told I should hunt them down, I did. I could not afford to get several of their releases, so I did skip buying the new one, "Anima Now!" which upon streaming it, it does sound pretty, and resonates well. Instead, I threw in my lot with 2008's "Tempo Tempo"- and it's very rewarding. This is fairly gritty Indie Rock, along the lines of latter-day grunge. I could seem them on a bill with the Afghan Whigs, Toadies and Hum. However, the songwriting is stronger than that might indicate. Actually, I can see some Greg Dulli in the songwriting, which is a fairly high compliment. There's also a solid Mod component- shades of the Who and Kinks are present fairly often. Seeing as most folks won't share my enthusiasm for northern European Indie Rock ( Hey, I'm self-aware enough to know it's an obsession of mine. If it was made by folks somewhere north of France, west of the Ukraine, and East of England, I'll give it a shot, pretty much without question) why am I bothering to tell anyone about my purchase of a three year old record by a band readers will not have heard, and most likely won't try to hear? Because I would encourage them to do likewise. Maybe you have a yen for Japanese Oi!, or Mexican Jazz. Follow that muse! Go with it, because the miracle of the Information Age is that it is possible to follow that out. Yes, that is miraculous- consider, I heard of the band, for the first time on Wednesday. Today is very early Saturday. I streamed records on Thursday, and downloaded my selection Friday morning,burned a CD from my Itunes library within 20 minutes, listened to that CD in the Car, and my Ipod during the day- and here we are, with me expressing my joy with the band. Now, imagine it's 1981. First, I would have had to somehow actually visit their part of Germany long enough to hear the band, and figure out where I'd order the record from, assuming that such a thing were possible. Then, I'd type up my review, Xerox my fanzine, maybe offset the printing, and you'd have to randomly find my Zine. That's a pretty amazing change, in only 30 years- as big a change as from horses to planes. It also makes it such a shame that most people simply accept the Top 40 with minor variations, around the globe. There are such treasures out there, that it's almost crime to settle for the Black Eyed Peas, or Doughtry.
So, if you want to hear a German band that mixes Who-ish Power Pop with Afghan Whigs styled high tension grooves, Blackmail are your boys, and I'd hunt them down if I were you. But, more than that, I'd say to follow that format- hunt down whatever strange niche you enjoy- the days of the finite choices are not now.

Partial Vindication in Studebaker's Blacksmith Shop

I mentioned the band before, stating that they were good, but held back by somewhat stiff vocals. Well, they've got a newer release out, called "Excuse me, are you Sick?" and it's getting much better. The vocals are still a bit stiff in parts, but the music has gone far less stoner, and far more plain old "alt rock', so the vocals sound less out of place, even if they get overly formal still. For some reason, the end effect reminds me a bit of Belly, but that's probably something strange from the back of my brain.
I think the best way I can describe this altered direction is that similar to Garcia, they've injected a lot of pop music into a stoner-alt base. I mean, I can hear the Queens of the Stone Age influence, but also some Nine Inch Nails, with some of The Gathering and now, some of Pandora's.box (yes, I can finally hear the connection) So it's getting to be pretty good robot rock. I really like the electronic flourishes and when Kerstin scrapes up her voice a bit. So, yeah, "Asshole Dance" is a standout for me. So is album closer "Therapy". Hey, it's free, if nothing else, but seriously, that's not the best reason to get it. There are literally hundreds of thousands of free albums out there. The main reason to get this is that it's good music, that blows away the weak drek you'll hear even on "Alt Rock" American Radio stations. I will admit, I'd like a little more polish on the production, and a bit more rawness to the performances, but it's still unique music- stoner electro rock with female vocals- and the vision is becoming much more clear.

Mainstream Sellout

Yes, of course I am. I listen to the hitmakers, let me tell you.
For example, I can see the hype, so I know it's time to listen to Raphael Saadiq- never mind the fact that all he's doing is a the typical career makeover we've seen 100 times before- bland popstar goes "retro" by exploring their "roots". In Raphael's case it's slightly more hipster, in that late 1960's soul is having a moment right now, but how is this different from Sting going Jazz back in the late 1980's or Everlast going folk in the late 1990's? But, I must not think bad thoughts, and accept that this is somehow much more cool than Cee Lo Green, because this is marketed to indie hipsters, and I want so very badly to be an indie hipster. When's he playing Coachella?
All snark aside, there are some good singles on his past two records, and he does a pretty blistering cover of "Search and Destroy" at rock festivals, but download what you like, and ignore the rest because I think this is a pretty naked marketing ploy- it'd be insulting to buy in.

Another example is how I spent yesterday. I went to go see Everclear. You remember them? The "acceptable" grunge band who did Dad rock songs about broken homes? See, I know my demographic- this is exactly what 40 somethings are supposed to do. It's either Adult Alternative or Country, and hey, Everclear do a little of both.
But, here's the twist- I actually like a lot of Everclear's stuff, and I think Art is a relatively honest songwriter. On top of that, I was going with my wife and son to Rock the Farm, which is a benefit for local kids. If that's not enough, when my son was very little, Everclear was one of his favorite bands, and he and I used to bond over singing songs from "Sparkle and Fade" usually with modified lyrics ( example- his mother and I lived 7 hours by car apart from each other. When I'd come to get him, we'd sing a modified version of Everclear's Santa Monica, while we drove through the desert "We could be beside the Ocean/ Leave this fire behind/Swim out into the breakers/and watch my car die") so, much as I might like Everclear or not, getting a chance to see them with my son was a priority. Oh, and by the way, the show was pretty good. It was plagued by some technical problems, but the opening act was the local school of rock, and it was pretty awesome to see really enthusiastic teens and pre teens having a "rock moment", getting to play on the same stage with a rock star, and then, getting to hang out with that same rock star, after the show. So, yeah, it might play into my demographic, but that's the kind of community I saw lacking in the hipper than thou circles. Seriously, I saw dudes wearing Amon Amarth T shirts playing with 4 year olds at a giant slide. That's a community for you.

Jesu

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.

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....

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. )

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?

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.

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.

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.