Planning for Fun is Better than Accepting Boredom

Ok I have a few things, none of which is worthy of a complete post-
First, unless something magic happens, I've got my concert-going planned for the next six months. I was going to see Red Fang, but when I saw that Channels was playing the night before, I debated- I couldn't do both, for multiple reasons, but I went with Channels because Red Fang will be back- I suspect in the fall- but it's definite that they'll be back. Channels on the other hand? Well, I can think of about a dozen reasons  why they won't- and don't get me wrong, most of them are damn good reasons, I can't believe they're playing at all. So, Channels is show one. Show two is the Bloody Beetroots. Why them, again? Because they do the best EDM show going- and it's because rather than go for the lasers and projections of the typical dance show- which hasn't changed since the days of Raves in the late 1980's, he ( and yes, Bloody Beetroots is a "He", ultimately) went farther back- to glam rock - his shows are more like a punk rock Queen or a hardcore Elton John than say Deadmau5 or Skrillex. There's a lot of Artifice, but at the heart of it, it's about real players, playing music for an audience to entertain. The connection to punk rock through dance music is that it's not about elevating the band, or the Artist, but about elevating the crowd- a course correction, if you will, for Rock and Roll. So, on the other end of that, I'm seeing a Festival in September- it'll be the Shindig. I'll be there to see Clutch, Gogol Bordello, and Jane's Addiction. It won't be a loss to see Rise Against, Fishbone or the Mahones, but if I miss their sets, it won't be a loss, either.
Second, I don't write about visual Art much because I'm an admitted neophyte on that stuff, but thanks to the prescient Jonathan, I've got a piece from one of my favorite current Artists- John Dyer Baizley  - in specific, I have the Australian version of the "Swan" Tour poster.  What I like about Baizley's art is that it references decorative art from both archaic, and more current sources- while pushing Figurative Art into Abstraction, as opposed to surrealism- Surrealism is still trying to be "real", but in a psychological sense. What Baizley seems to be going for is making real things, in this case a swan into an abstract object, into a visualization. That's much more intriguing to me.
Third, and finally, for now- I'm looking forward to several things in the works- all of which adds up to creating something for myself that I should have done awhile back- you could call it a work station, but if it comes out like I want it to be, it'll be more the realization of a dream of mine- a little pod of my own reality- a little place that's my expression. Now, even if I fail ( and it's about 50/50) it's worth it to try because that's what life should be about, right?

Get on This

Seriously. Tilts have a kickstarter. I think you should get on it. Why? Because it's Tilts, why else? The fact is, they bring the party rock in a way that has not been seen since David Lee Roth had hair, and you could forgive Dokken for being assholes.

Wrapping up

So, Walking Dead is ending their season tonight, and How I Met Your Mother is ending its run on Monday. You know that old saw about show biz - "Always leave 'em wanting more"? Yeah, neither one would adhere to that. Walking Dead made its point for the season. The group, atomized, is dealing with individual reckonings, and, when they get to the promised land of "Terminus" they will deal with a larger reckoning. I got it, already. Let me guess- Terminus is named such because it's a death factory of some description. Cannibals? Psycho killers? Doomsday cult? Probably all of the above. Walking Dead excels at the details, but the larger plot is cynical, and repetitive. I really think they should change the focus- more episodic, less serial. I think we've seen the journey for most of the characters, so why not see other people's journey. Yes, I'm aware that the comic book is essentially a story told by Rick. So what? They could veer off into new territory. Show us a zombie post apocalyptic story of human survival in Montana, in Winter. Show us how some red state conservative yahoo deals with being stranded in San Francisco after the apocalypse, and how former liberals learn to accept him, or better yet, her.  Give us how old dynamics shift in this new world- a tribe of cold, cruel Amazons made vicious by the new order's lack of opportunity to nurture. See what I mean- there are hundreds of stories there, all complying with mission statement- while we're stuck with Rick and Darryl and Glenn and Maggie.
Conversely, How I Met Your Mother ended two or three seasons ago. I think we're all over the gimmick, and it was a great show, and an even better springboard for the talents of Neil Patrick Harris, and Jason Segal, but the structure of the show is done, and has been done, for years now.I bet the ending is that the Mother is either dead, or divorcing, or otherwise the relationship ends. I bet that people are let down by the finale. Hearing that they're ending this iteration, only to do it all again, simply with new characters? Yeah, that's lousy, and shows just how exhausted the concept is.
So, doesn't anyone know how to wrap it up, anymore?

OFF! Wasted Years

Ok, let's start with the obvious- Off! is Keith Morris' version of Black Flag. From the name ( Black Flag- Bug poison, Off!- Bug Repellent) to the Dan Armstrong guitar tone, this is referencing Black Flag-but, it is not Black Flag- Greg Ginn is negated, here- his misanthropy, his King Crimson-esque atonalities, his Autistic narcissism, all of which is a big part of what Black Flag is- that's not just absent, it's nullified. As pissed off as the lyrics are, they're based around passion, and concern for everyone. This is the voice of a guy who sees his friends being abused, and is striking out on their behalf. So, no, it's not The Circle Jerks, and this isn't a party band, although the videos are hilarious ( and you have got to see them) but it's not the alienated/alienating sort of unfocused threat that Black Flag grew to be, either. Likewise, minus Ginn's excursions into noise sheets, and quarter step 32nd notes completely off the scale solos, The saturated Dan Armstrong sound reads as crude blocks of sound- at times swallowing the bass and part of the tom sound from the drums- but as generic as that might sound, it makes for absolutely zero bullshit power rock- which I think is a good operational definition for Hardcore.
Which is the point, I think. You could argue where Hardcore comes from. Bad Brains, Middle Class, even ,DOA get the credit, however, for my money, Hardcore begins with the Keith Morris version of Black Flag. So, it's only fitting that the last Hardcore band be Off!
That point made, What's the new record like? It's hardcore. Sarcastic, pissed off, frenzied, and ultimately, passionately alive. Yes, you need it, right now. No, I don't think it re-invents anything. No, it's not some breakthrough from the last one. It's H-A-R-D-C-O-R-E. Get it.

Disasteratti- Cerebral Hack Artist

What is it with the midwest and super tight mathy noise rock? I mean, it has ever been thus, and I don't foresee any changes- if you want angular post-hardcore rock music, played with precision, and chops, you go to the Great Lakes region of the US. So, Disasteratti have been a thing for awhile, but I stumbled across them, knowing next to nothing- little did I realize I was going to hear roots math rock, with the best Telecaster tone, like ever- metallic, biting, crunchy and twangy, rubbery and elastic- like the coiled metal of the thing, itself- wire wrapped around magnets, being activated by striking wires wrapped around wires, you hear? The music is based around ye olde 12 bar blues, but at a faster, more adrenalized tempo than what you're used to. The sonics owe a debt to Girls vs Boys and Shellac, and strangely enough, The Gun Club. If that doesn't sound like an awesome combo to you, maybe you should skip this entry. I love it. It's noise, sure- there's that treble-boosted vocal style, like everything is shouted through a megaphone- like mid-period Six Finger Satellite- and yes, that's hardly the most musical thing, but, in context of a telecaster playing bruised, and mutant blues licks over a mean post-hardcore beat? It fits. Other times, you've got a GVSB styled minimalism but with with pedal tones and blue notes galore, hence the Gun Club element- it's almost like they have a slide guitar player, but I'm hearing the fretting. It's like a resonator souped up to aluminum guitar powered by amplification meant for city-wide address systems- like the announcement of rootsrock judgement day delivered by air raid sirens. Yeah, that's it. Go get some.

Afghan Whigs- Do the Beast

God, I've missed the Whigs! Greg Dulli writes "confessional R & B" ( as if anyone else does)  in the persona of a man who really has something to confess- his songs convey all the wickedness that men hide, not the flaws that still makes us look good. That's the problem with all the Emo types- it's like that question on a job interview - what would you say are your flaws?- and, of course, you're supposed to go through the verbal ju-jitsu to make up some supposed problem that still makes you attractive to your prospective employer- Gee, Jim, I just work too hard!- or in the Emo-boys case- I guess I just loved my girl too much. Greg Dulli would answer that question with : Well, Jim, I've punched out 8 of my last 9 bosses, and the 9th got his desk burned down. You don't really want to know about my 10th boss. But, you can hear his songs in a multitude of ways. The Afghan Whigs bring down the most brutal funk, blues, and Soul music this side of the Pop Group. Yes, some members have gone, but this still sounds like the evil crew that recorded "Congregation" "Black Love" and "Gentlemen". The only band that comes close to this is Girls Vs Boys, and whereas they're a louder, more traditional alt-rock band, The Afghan Whigs are darker, and deeper. So, why would I miss this collection of demons? Because the devil has the best music. Because it makes me glad I'm not the guy who fits these songs. Because they're the musical equivalent of a hard boiled novel like Jim Thompson used to write. Because too many other would celebrate these guys that Dulli creates, and it's a good thing to know their flipside, left you find yourself rooting for the heel. Because Rocknroll can really be the Devil's music.
If you like the dark stuff, you cannot deny this.

Pixies- Indie Cindy

So, people are calling it the first "Pixies Album" since 1991. I suppose that's sorta true. It's not, in that live lps, and compilations followed 1991's Trompe Le Monde, and if they don't count, then, this doesn't because it's a compilation of their three recent EP's. It is true, in that it's new music by Black Francis, played by Black Francis, Joey Santiago and David Lovering, and what else do you call that? But, I still wouldn't put it in line with the new LP by My Bloody Valentine, you know?
With that question hanging over it- let me state, for the record, it's the best compilation of Pixies songs since Bossanova. It's not the equal to Doolittle nor Surfer Rosa, but it's certainly up there with Bossanova and the Purple Tape, and Come on Pilgrim. Which, of course, makes it an absolute essential listen.
However, I'm not blind- I know that every Pixies album has filler, and everyone disagrees as to what is filler, and what is not. So, the format here- three EPS, and then, a collector's edition LP is ideal- if you're just in it for "the good stuff"- you can pick up one or two of the EP's, and call it a day. If you're a slavish fan boy, you can get all the EP's, plus the LP, with the live CD and the book. For me, I have all three EP's, and I think I'm done. I've seen the band live, I don't need the live CD ( plus, this. Great set/interview) and I've never been as impressed with their visual work, as with their music. The music, though, is as good as I could request: What Goes Boom, Greens and Blues, Magdalena, Blue Eyed Hexe, Another Toe in the Ocean and Andro Queen are the highlights, and  only Indie Cindy and Bagboy are minor letdowns. The rest of the songs are good, but not amazing.
Would I like to hear Kim Deal singing on them? Sure. She didn't want to sing these songs. So, are we supposed to deny reality, in favor of our projections?  I think that's unfair and, frankly, stupid. The guys in the Pixies have grown up, have moved on, and are not the same people as they were in 1990. I am not the guy I was in 1990. Expecting 1990 is just plain stupid in 2014. So, in 2014, these songs just destroy any competition in the independent Pop/rock category. I have some other records to talk about- so, yes, there are other great releases, this year- but they aren't in this category ( just so's you know- I've been listening to the new Afghan Whigs , Disasteratti and Off! records- can you see how they're not in the same category?) . As George Michael might put it- listen without prejudice, and you will be rewarded.

Null Object Pattern

So, read this. I partially agree. There are some huge limitations, and obvious biases in Gioia's arguments, not least of which is that, by using the metric of top 40 pop music, Billboard and American Idol on the one side and Jazz, Newspapers and The Saturday freakin' Review, on the other makes much more generational and idiosyncratic than it needs to be.
But, I am not trying to simply argue with him. He's wrong but that's less important than how he's right- I do think music as a cultural force is getting shorted, and it's partially the music press to blame. Here's a thought- maybe it's by design? Consider this- the music business hasn't gotten by on selling music in a long time. I could be wrong on this, but if so, not by much, but I believe since before the advent of Mp3's, music hasn't sold "enough" by the Wall Street standard. I would pin it somewhere in the mid-to-late 1980's. So, music becomes a loss leader, in an effort to sell us T shirts, Walkmen, IPods, or Coca Cola. So, maybe turning music appreciation into "lifestyle" reporting is less about dumbing down, and more about smoothing out- it's ways of making us feel less in control of our own culture, and accepting our Corporate Overlords. Does that sound kooky and conspiratorial? Well, first consider how many pop, rock, country and dance artists are actually in the business of selling T shirts, and other merchandise. Now add to that how many live venues are actually in the business of selling beer. Now add to that things like Jay Z and Rocafella/ Rocawear, or even Blink 182 and Macbeth. Starting to see? Think about why it is that bands on Bandcamp are doing "name your own price", or why it is that even a whore like Trent Reznor has been willing to give away whole albums. Ultimately, it's because, overwhelmingly, we have been conditioned by over a generation of mass culture to devalue music, in and of itself.
Again, though, I'm about solutions, not problems. I believe the solution is contained within the problem- by going away from "mass" or "niche" or "counter" culture, and into idiosyncrasies and individual tastes, we can redefine what culture is. By going beyond tribal identities- Punk, Stoner, Rave, Redneck, etc ad nauseum- and starting to identify by aggregates  - we can make new culture. For example- you know those ridiculously detailed Netflix categories? "Romantic, provocative stories with darkly comedic undertones and just the right amount of steamy" ( actual category from my Netflix) - what if that was a cultural descriptor? What if rather than saying "I'm into Punk", we said " I like angsty, uptempo minor key shoutalongs with loud guitars"- it would bring us back from being demographics, because it's hard to market to things so detailed and small. So, rather than pedantically talking about the pentatonic scale ( which would mean exactly what to a Thai teenager into gangsta rap, and EDM?) - maybe we should be talking about what we actually like?
But, what would I know, right?

A Post about the Walking Dead

So, yes, I am still watching the show. I am aware that it has some race issues ( T Dog? Really?) class issues ( the rednecks are racist, and criminal, the bourgeois are at least rationalized as having trauma to explain away their sins) and gender issues ( Women are weak, or butch, and no real gay characters) but I still watch it. You wanna know why? Because of a filter I have for it. Like all decent genre fiction is serves best as an analogy. No, it's not about zombies- zombies don't exist, hence they're called "Walkers". No, it's not about disease because "we're all infected". It's about the atrocities of total war. Think about Rwanda, think about The American slaughter of Native Americans, think about southeast Asia, think about Central America, and so on. How often did these things break down on ethnic, or class lines? How much rape and chattelling of women goes on in them?
So, let's say that you agree with me, that it's about how people behave in those circumstances, so, then, what? Well, here's the trickier part- America, especially white America hasn't had to deal with that- not directly, and not in a very long time. However, what did we do in Iraq, and Afghanistan? How much did we dehumanize not only the opponents, but our own citizens? I watch the Walking Dead because I have friends who have come back from that, and I see them struggle, and The Walking Dead is a much safer way to talk about the aftermath of horrifying conditions because it's about "zombies"- you see? I can talk to a dude who lost his mind for a few minutes because an improvised explosive shot his friends' leg into my friends face about how traumatized Rick and Carl are, and I know he sometimes isn't talking about them. I can talk with another friend who had half a lung removed from parachuting into Fallujah, but all he wanted for years was to get signed up and go back about what a badass Michonne is, even though I'll never fully understand my friend, we can communicate through that cipher. Starting to see the point?
But, it's not just veterans. I think we, as Americans, understand, on some really deep level, that somewhere along the line, we crossed over, and we're the bad guys. Maybe not all bad, and maybe not all the time, but we've given the ok for some pretty bad stuff to be done in our name- The Walking Dead is a way to start processing that.
So, while I have no doubt that the Artists creating this show have some bad actions- I think Kirkman is demonstrably a sexist, for example. And I'm sure that both Darabont and Mazzara partially are out because no one is ready to abandon character development to the sociopathic levels that fanboys seem to want- a major, major part of why, even though I enjoyed Zombieland, it made me feel a little sick afterwards was how much it focused on being a "badass" and how cool it was to kill- so I know that sociopathic urge fuels a good percentage of our zombie stories- but it's that stubborn return to humanity, even if it's all dialogue, no action that makes me think that The Walking Dead has redeeming qualities.
For example, I literally have lost friends over this opinion- but I think the last episode was part and parcel of what the show absolutely must do- I'm not going to spoil it, but let's just say that a major character has to kill another, much more vulnerable character, because that character seems to present a greater danger. Some of my friends have concentrated on that killing, and other elements like that, and believe that the show is endorsing these actions- I'm arguing that the real core of the show is in the words of another character who responds to this transgression, and others like it by saying that he forgives, but cannot forget- that we can accept that we have been a party to evil, to things that should never have happened,  but we must not accept it in any kind of warmth- it's evil, and we have to be haunted by it. That's something I think needs to be said.

Cracking the Code

Certain connections may seem like some kind of cipher. Like you'll hear somebody say that such and such song sounds "exactly" like some other song, or some TV show is really a "rip off" of some movie, and it's really hard for you to see the connection? It's like there's some code, or puzzle that you're missing, right? Well, I'm all about transparency- I don't want there to be a code, just a connection. So, when I say that I'm hearing echoes of the past in some current bands, I'm going to strive to explain exactly what I mean. In particular, I think that Criminal Code sound one heck of a lot like TSOL circa "Dance With Me", and Eagulls sound a lot like Bauhaus circa "In the Flat Fields". That I think so is not important- the why is what I'm getting at.
See, in Criminal Code's case it's single coil guitars overdriving fender amps, with a large amount of chorus, the depth set high, and the rate set fast. With that set up, it'd be hard for almost anyone to avoid sounding like TSOL to me. They were the first that I heard to do that combination, so now, that's what I hear when somebody else does it. I believe that they're using different equipment around that- for example, I sincerely doubt they have a mid 1960's Firebird packing P-90's, which was Ron's primary way of pushing single coil sound into overdrive, whereas Criminal code sound more like either a pedal, or a gain stage in the amp- but the essential nature of the connection I hear is exactly that: single coil, overdrive, Fender, and chorus pedal.
Likewise, songwriting-wise, lots of folks have heard the connection between early post-punk and Eagulls. Mostly, they have mentioned Killing Joke, in that the band outright covered "Requiem"- but I'm hearing Bauhaus more than Killing Joke. Killing Joke is 10" celestions, with a massive amount of gain. Killing Joke is Gibson, all the way down the line, and rockabilly tunings ( G mostly). No, what I heard in Bauhaus, and what I hear in Eagulls is fender guitars, giant Ampeg bass cabinets, solid state amps, two types of delay ( probably digital, these days, but the shorter delay may still be analog) and a fast chorus pedal or two. The real trick, though is the two different delays- one almost a slapback short delay, and the other a giant cavernous delay- done to simulate the complexity of a really well-tuned reverb tank, but yet more huge-sounding. Later on, bands like the Cocteau Twins would add yet more delay ( sometimes as many as 6 different delays) but, when Bauhaus did it on "In the Flat Field" it was two, plus chorus. That's what I'm hearing here. Killing Joke used one delay, and two chorus pedals- and I know that sounds like esoterica- but that's part of the code- see, I don't hear music quite like some others do- I literally hear the equipment used. I know, I know- a really good song is a really good song, whether played on a busted acoustic guitar, or some state-of-the-art digital studio. I know that to be true, but I am a creature of my history, and my history is that equipment- so that's what I hear.  Maybe if I was more of a singer-songwriter type, I'd hear chord structures first and foremost, but I was a soundguy for years, so I hear equipment, first- then I can hear songwriting, and so on. So, my code for the connections I make is largely based around equipment. Make of that what you will.