Classics from an Alternative Universe

The break up of USOT kinda bums me out. Sure, there are new projects, and if the band is untenable, it's better for them to pursue their best course, but I really did want to see them live, just once. So, I listened to my favorite record of theirs, this week: When the Revolution Comes, Everything will be Beautiful . I still think they didn't get their due for that record.

So, that, in combination with some posts on facebook by some friends got me thinking about some other great records that I liked, but few others, or at least too few others, noticed. So, I've been listening to them, too.

First, Arcwelder's Entropy. Amazing band that sounded like Shellac meets Archers of Loaf with Bob Mould singing They Might Be Giants songs. Yes, post-hardcore, indie rock, but something a bit more than the sum of the parts. They distilled a certain post punk awareness of certain midwestern hardcore types: the whole Reflex/Ruthless/Touch And Go/Homestead B-list type thing- as in the kind of band that would have been written about in Your Flesh magazine, but forgotten soon thereafter. While I might be an all-day sucker for that whole thing, certain of these deserved A list status, and Steve Albini including Arcwelder in his ATP line up says that I have this one right. (BTW, If I had a spare 3 large, I'd go. Jeebus, lookit that line up!)

So, Arcwelder playing ATP got me thinking about my big regret this year- not seeing the Quicksand reunion. Sure, I like Gorilla Biscuits and Rival Schools and so on, but Slip by Quicksand, that's a stone classic, and I genuinely pity you if you don't think so, as well. It's the punky reggae party of the Clash and the Ruts brought headlong into the post-hardcore 1990's, with Killing Joke and Helmet styled metal-isms thrown in to shine it up. Furthermore, I dare you to be excited by the second half of Fugazi's discography after hearing Slip. Quicksand dominated that sound so thoroughly that I really don't know why anyone took up that sound until The Refused came along. 

That leads me to The Rise. I've mentioned them before but I talked more about their second LP. The first one,  Signal to Noise is amazing as well. Yes, it clearly owes a debt to The Refused, but it carries that torch a bit further into electronic music territory than the Refused did. And, well, The Refused did break up, and the members did other, very worthwhile projects, but they weren't exploring that post hardcore meets Techno meets Jazz meets folk sound. The Rise kept most of that, though they lowered the folk elements, and really brought up the Techno, making it a different thing from The Refused. That the Metalcore folks bought in was surprising, and I think if people were a bit more candid, they'd probably admit that Signal to Noise was the gateway that brought them to The Refused- meaning that the influence The Refused had on The Rise paid back dividends in the proper way, much like Metallica championing the Misfits properly brought focus onto Glenn Danzig and company. On top of that, much like The Refused, The Rise were made up of very creative individuals, involved in everything from great rock bands- Aeges, Juliette and The licks,  and ...And You Will Know Us by The Trail of Dead, to magazines and design- Law of Inertia magazine, multiple albums and of course, production and engineering. So, much like USOT, the fact that there will be no more records by The Rise is a bummer, but not a catastrophe, and there's some classic documentation left behind.

More Specs, the ongoing optical odd-I-see

So, yes, I've been spending money on Specs. Apart from my generic specs that I bought on my insurance policy, I've purchased 3 pairs of specs this year, so far, and I got one pair for free. Remember this post? Well, yes, I got the Parkers at Lookmatic, , and I bought a pair of the Tippis for my wife.  I also won a pair of the Uncleonards ( they have many contests, just scour the net) and now, I've got a pair of the Hoppers  from Mezzmer.
Here's what I've learned- Lookmatic is definitely going for the Women's Sunglasses market. They getting designers involved, they are getting celebrities to wear them, and  they're advertising them heavily.Still, they put out a lot of very high quality specs and while they are not the cheapest, I'd say they have some great deals because the quality level is very high. Mezzmer produces some very high quality specs as well, and they have excellent customer service. If there were no Lookmatic, I'd probably shop at Mezzmer an awful lot. Truthfully though, Lookmatic has insanely high levels of customer service- they'll even answer random questions I email them at 1130 at night- within a half hour! In comparison, Mezzmer takes between 12 and 24 hours. However, they will ship up to 5 pairs of glasses for you to try on for a dollar, and they pay shipping. Like I said- excellent, excellent customer service. Lookmatic practically become family members, and I actually know at least two of them on a first name basis- but Mezzmer still kicks most brick and mortars to the curb. I won't name the names of other places I've tried, but I'll just say that some of the more "hip" options have fairly lousy customer service, so I'd still give Mezzmer a very strong recommendation- and I don't want to give the impression that I think you should choose Lookmatic over Mezzmer, because they're just as good, I just like Lookmatic more.
There are other considerations, of course- I'd say the quality is top notch for both. The Lookmatics have a slightly higher quality frame, while I have to admit the Mezzmer lenses are higher quality than even the Lookmatics . Still both are very high quality- easily better than most brick-and-mortar options. If either one gets into the business of making progressive bifocals, I'll take the insurance hit, and never buy from a brick and mortar, again.
Then, there's style. I, personally, think they both put out some very stylish frames, but I'm a big fan of "retro" designs ( I think Men's fashion peaked in 1963) but with modern twists- and that's exactly what both of them specialize in doing. Very "Mad Men" styles- and if that's not your thing, you may not find them as stylish as I do. Still- I think that kind of style seems to be fairly universal, so I expect I'm not alone.
Finally, there are some ethics involved- while none of these keep up with certain companies' charitable giving, or ecologically sound business practices, both are more green than 90% of  the other options out there- and Mezzmer has a 6% charitable giving policy- which is still nicer than going to Walmart, right?
Overall, I'd call my online spec purchases a success- and, if I have my way, I will continue to purchase a few more- and if you think me a gluttonous consumer, I'd like to point out- I cannot wear contact lenses, and if I'd just gone with the brick and mortar my insurance favors, I would have bought two pair- glasses and sunglasses, and would have spent roughly 1/5th more than what I've spent, in total. So, if I buy two more pair, at the prices I'm paying, I'd be at the same place as if I'd bought two higher end pairs at a brick and mortar- in other words, had I been able to buy all my glasses at these two places, I could buy at a rate of 3 to 1. So, I don't feel too bad about it at all.

a Programme note

Hey, I'm not certain how many posts I'll be doing for next few months. Several things: I'm not excited by a lot of what I see on the horizon. There are few things, but not a lot. Also, I'm saving my pennies for a few things- I'm not done buying glasses, I've got birthdays and holidays to buy for, and I'm hoping to purchase a few larger items ( new car, a couple of appliances, possibly a new computer or tablet computer). Also, I'm a bit involved in a few non-pop culture things that are eating my time. If that's not enough rationale for you, I'm not saying there will be no posts- just that they might be fewer, and more... creative. But, hey, who knows? I'm might get enamored with a buncha crap....

Buying Good(s)

Ideologically, I'm not exactly a big supporter of the "buy green", "buy handmade" or "buy local" thing. The way I see it, there are two words in there: and the one that's the same in both cases is "buy". I really don't think we can buy our way into anything good. I spent way too long in too many economics courses, and worked for too long as a banker and accountant to think that we can buy our way into peace, a better environment, love, or justice. However, you can buy happiness, and prosperity- but it's not the most efficient route to either one.
However, buying crap is the secret underbelly of a lot of what I do support, so I'm willing to overlook some truths in order to get to better ones. For example, I believe in supporting creators of culture- and the way we do that, in this time and place, is buying stuff.  We buy Mp3 downloads, CDs, T shirts, Bumper Stickers, Wall Art, Sculpture, Jewelry,  Books, eBooks, Movie Tickets, Concert Tickets, Restaurant Food, DVD's Licensed Streams, Blu Rays, and Hotel Rooms, and we're essentially "voting" which way culture goes. So, buying a lot of things goes part and parcel with adding my voice to those stating they want the world to be a different place. So, since I want the world to be greener, and since I like doing things myself, and since I like my friends, I do buy a lot more green options, a lot more handmade things, and I  do shop locally, as appropriate. However, I also think that I do more to create a greener world, and a more just world when I vote with a ballot, and when I work towards different laws, and when I don't buy, you know?
What all that means is that, ultimately, if you buy something, you should buy it because it is the best of whatever it is.  How did William Morris put it? If you want a golden rule that will fit everything, this is it: Have nothing in your houses that you do not know to be useful or believe to be beautiful . So, I buy local craft beers when they are tastier, not when they are more ideologically sound. I buy  handcrafts when they are handsome, and well-made by people I know to be talented. I buy CDs when the band sounds good, and I like them and know them to be talented.. I patronise places that serve me well- in the quality of the goods, the aesthetics, and the relationship. I see bands and movies that I like, not that fit some self-created profile. I think we, as modern people, have a glut of stuff, and I think that glut does not serve us, but instead serves people we may not like. I see no need to add to that glut in service of some misguided notion that by doing so we are somehow making ourselves better- that smacks of a smug  self-satisfied rationalisation . I might rationalise, but I'm never smug, nor self-satisfied!
So, with that overly intricate preamble, I'm starting to assist in the promotion for the Crafty Bastards craft fair, in Washington DC.  Yes, I said "assist" in "promotion" for what is, essentially a marketplace. Furthermore, this year, it even carries an admission price., and will be held inside a literal market. If I said that none of that made me uncomfortable, I'd be a liar, and I truly believe that most people can tell when you're lying. So I think an explanation is in order, and part of that explanation was in my preamble. Some of the event organizers are my friends, and yes, I've bought stuff at previous Crafty Bastards. I don't want to sound like I'm being too precious with my "brand" here- but if I'm to stand for anything, more than socialism, more than aesthetics, more than I would stand for anything else, I stand for simple human relationships.  No, that's not the same as love- what I mean is that I am convinced that the "I-You" relationship is the building block of anything good in humanity. Now, of course, my friends are not the same as Crafty Bastards. It's still drenched in capitalism, and therefore still is in the "I-it" relationship, so, I'm not necessarily endorsing Crafty Bastards as a concept. But, the opportunity is there for me to experience the "I-You" relationship. Because that opportunity exists within that space, I can endorse Crafty Bastards in practice. Get it, or have I gone too high concept for you? 
What I'm saying is that buying at a craft fair is still buying things. That's a dead relationship. A simple transaction, dressed up in "Alternative" rhetoric, but ultimately just that- buying stuff, and the person at the till could just as well be an application. However, because of the scale of the venue, because it's possible to actually accept the humanity and the validity of that humanity at this venue, I can endorse that opportunity to shake off the transaction, and interact. Put this way- if I buy a T shirt at Amazon, that's all there is. I bought a T shirt from a collection of machines, literally. If I buy a T shirt from a friend, the T shirt and the transaction of buying that T shirt is secondary to the relationship with my friend. I can get behind any arena or venue that emphasizes the friendship more than the transaction. If we can spread that notion- that making and having friends is better than making and having things, that really is a way of doing good. 

United Sons of Toil- Forces of Production

I'm a big fan of USOT, but not a big fan of remixes. Truthfully, I fully respect the notion of remix culture, and I understand the cultural forces at work, but I usually just don't care for the results. Even the most expert remixes end up sounding basically like gimmicks to me. Yes, that goes for the Bloody Beetrroots re-imagining of the Refused's "New Noise" that were performed with Dennis. So, much like that, this is a kind of collaboration, as well, in that USOT put the word out "Remix us and we'll assemble it into a release", and that removes one element that I don't like about remixes- that they become a method of putting one kind of Art into another type- sort of replacing the author with another. Also, I'm not hearing another of my pet peeves about remixes- either the out-and-out insertion of a synth that was not part of the original, or manipulating the sound so far that it is the same as if a new synth like was introduced. So, there are some serious counter-arguments to calling this a "remix album". Also, another pitfall is avoided- these songs sound playable. Don't get me wrong- I can get behind fully synthetic songs, and samples ala the Beastie Boys, but ultimately I like music that sounds like humans played it- and this still sounds like humans played it. Some of the vocals, maybe not, but the music sounds like it may be difficult, and might need some augmentation, but could be played by a live band. That's a huge plus for me.
Ultimately, it reminds me of dubs, more than remixes, if that makes any sense.
So, should you get it? That's up to you, of course. I'm not trying to tell you to sell or prevent the sale of records, here- I will say that it appeals to a slightly different aesthetic than most USOT records- you know how Broadrick went all kinds of strange in the mid to late 1990's? Ice, The Sidewinder, Youpho, Krackhead, Techno Animal, Love and Hate in Dub, Us and Them? All that stuff? If you got into that, like I did, I cannot see how you will fail to enjoy this. However, if I'm speaking a foreign language to you, right now, let me explain- this isn't exactly dance remixes. This more like ambient music- you crank it up, and you live with it around you. It makes for a great soundtrack to whatever it is that you're doing at the time. Me? I say you plot a revolution with this as the backdrop, but your results may vary on that.

Joe 4 Njegov Sin

It's been a few months, and a partial change of language for Joe 4. On their last EP, the gutteral grunts and hoarse exhortations were nominally in English, now it appears they're doing the same in their native tongue. That's a good thing. Seriously. I don't speak a lick of Croatian, so I couldn't even tell you if that's what the language is, but you can tell when someone is expressing themselves in a language they understand or not. Nothing is more unintentionally funny, nor more maddening than the horrible turns of phrase when the author isn't using the language their heart speaks- like teenage poetry, it might make sense to the author, but it ends there. Meanwhile, I can read the intent here- these are exhortations, grunts, and yelps- the impression is of alienation and passion in equal degrees.

So, how's the music? Remember how I said they were driving a beat into the ground, last time? They still go in for repetition, and drone, and heavy beats, but there's a lot more dynamics, now. The effect is not unlike an organic version of Big Black, or any other expression of Steve Albini's singular muse in that direction-The songs pound and pummel, while the guitars seek to play a counter to the machinery of the bass and drums- not a counter melody, necessarily ( though there are some pretty bits, like the first minute of "Houlihan") but a counter nonetheless. Yes, Albini recorded this, and Weston mastered it, like in the days of yore, but it doesn't entirely have the characteristic Albini dryness- there's a little bit more old school reverb and compression- you know who it sounds like recording-wise? Iain Burgess. That might not seem like much to you, but for old Chicago Hardcore veterans like me, that name carries serious weight. This seriously could be an early to mid 1980's Chicago or Minneapolis post-punk record- and here's where I get obscure, but bear with me- I could see them on a bill with Rifle Sport, Breaking Circus, and Big Black. Now, getting less obscure- they sound like the beta version of what became the AmRep sound. I know people will simply hear this as a variation of that fabled AmRep/Touch and Go/ "Pigfuck" sound, but quite frankly, it's the sound that came before that. 

So, here's my statement- they've improved greatly, and they were good before. If this were the golden days of Indie recording, I'd say somebody sign them, right now. However, as we're now in the digital era, I'm saying hie thee unto Bandcamp, get this, and start demanding your local greasy dive book them ASAP. Yes, now.

The Raveonettes "Observator"

On the other hand, it's real easy to talk about The Raveonettes latest- it's crap. They took their basic sound which was a semi-goth take on early 60's pop-rock, and presented it as something new. Now, they've dialed back the most challenging element they had- the wall of echo, distortion, and other ways of obscuring the tunes to reveal a slightly more retro Goth pop. Which is to say, crap.
So, rather than talk about them anymore, I'll briefly mention that Amanda Palmer sucks, and I don't care how much she made on kickstarter. I hated the Dresden dolls, I still hate her music. I never gave a thought if that related to who she was as human being, but now that it's been revealed that she's little better than the mobsters who used to run the music biz, I can say, it all makes sense- her music sucks because she sucks as a person. All very clear, now. I'm with Albini. Oh, and the smear pieces that came out on him afterwards? Cowardly dick moves if you ask me. Seriously, if you're trying to hold Steve Albini up to some kind of PC measuring stick, you're a dipshit, and not worth hearing out. Stay behind your camera, lickspittle.

Jon Spencer's Meat and Bone

Gaaah! It's next to impossible to give you a fair talk about the new Jon Spencer Blues Explosion LP "Meat and Bone". Y'see, had it come out a year after "Damage", or better yet, had come out instead of "Damage", it'd be a one sentence explanation- Jon Spencer continues to perfect the art of deconstruction on Blues Boogie with the scuzz factor set high. But, really, it's been a decade since they were really trying to mine this field, and in that decade, we've seen at least two bands exploit that same sound, to much greater commercial effect, and JSBX itself, exploited commercially moreso than as a real, working band. So, it leaves a taste of cashing in, or returning to the well- it brings in business considerations, and that removes me, as a listener, at least one step- I'm thinking about "Why" too much to fully appreciate "How", if you follow me.
That's not to say that I don't enjoy it, because I do enjoy it, but I keep on going back to things that aren't part of the music, itself. I'll hear a great riff (Like on "Bag of Bones") and I'll think something along the lines of "There's Jon Spencer come back to claim what's his from the imposters" and it's no longer the same as just hearing a great riff, you see? Or, I'll hear that truly great chorus on the end of "Black Mold" and I'll wonder if he held it off so it'd sync with the schlock-horror music video, which is also great, but I realize that they have to do tricks like that to compete with their newer, more commercially viable lessers. Then, it's a much more cynical thing.
But, I don't feel bad about the way I hear it, Billy Corgan be damned, because Jon Spencer played this game first- he's the one who took a post-modern, "deconstructionist" eye to genuine scuzz boogie blues. He's the one who dressed up the same kind of cool-guy-exploiting-outsider-art that's been happening forever in a kind of semiotic reference list. So, it's fair to look at what he does from a distance, and judge it based upon his position as a has-been. Yes, I said it, and no, it's not fair- I told you it's next to impossible to talk fairly about this record- and that's why- the whole thing is predicated on the false assumption that Jon is now an outsider himself, simply because he hasn't been releasing CDs or touring as much. But there you have it- the most honest thing I can say about it is that while I like the music, the games are getting in the way.

I kinda hate myself for this....

I'm a pretty big obsessive over a few Australian bands from the early 1980's. See, I spent most of 1982 through 1985 living in places where American pop culture had less of a toehold than British, European and Australian pop culture did, and quite frankly, if you had to choose between Saxon and Rose Tattoo, or more starkly, between Dire Straits and the Angels, I sincerely hope you'd have chosen as I did, and gone almost entirely for the Australian side. This has led to some strange choices at times, but most of the time, if it comes from the Australian Pub/Punk/Rock/Metal type of music, it's right up my alley. In that vein, I cannot think of a single LP I like better than the Angels 1978 LP, "Face to Face". From "Straight Jacket" to "Comin Down" it's a damn near perfect LP. "The Angels", "No Exit", "Dark Room", "Night Attack", and "Two Minute Warning" were all varying shades of excellent, as well.
So, musically, I really want to like anything released as "The Angels". I heard about the falling out between Doc Neeson and the Brewsters, and while both sides have their points, I side a bit more with Doc. The kind of show he put on, I believe him when he says his body is broken, and he needed chemical help to ease the pain. At the same time, it wouldn't be the Angels without the melodies, and I'm sure Doc is a nutter, and I'm sure he's difficult to be around. So, I'm not entirely without sympathy for the Brewster side of the equation.
So, I shelled out large sums for the new LP ( in USD I paid $40.00) and I've listened to the whole thing a few times and, as much as it kills me to say it- the record blows. It's bad. It fails to entertain me.  I don't like it. It really hurts to say. I realize I should've known, but I honestly had hope. Dave Gleeson sings in a far more traditional rock voice, yes, but I don't want to put too much of it on that. The real problem is the whole band sounds tired, perfunctory, and like they are simply trying to cash in a cheque. They do fair number of covers, and bring little to the table on those. The re-do a track or two from their glory days and it's glaringly obvious that the spark is gone.
While I feel like I wasted my cash, that's not the worst part. The worst is this- you can literally hear the band digging their heels in. There will be no reunion any time soon. They won't be going back to what they excelled at, any time soon. That's utterly depressing because as far as I can tell Doc doesn't have all that long. The man really does seem to be broken in ways that will be hard to repair, and by the time he is repaired, there's very little chance of him being able to forget the bitterness enough to be a convincing performer- in other words the Angels that I loved are gone, and I really wish that I could love these new Angels, but I just don't.
I don't like putting negative reviews and notices on this blog, because life can suck enough without adding to it. However, I really do feel it's my duty to put this out there, so I can save other people from hearing this, and ruining the band for them. Yes, I know that may seem like a nasty thing to say, but I swear it's the truth. Avoid this, if you can.

What I could find of the show on you tube

It's not all of the show, but these clips should give you an idea- Bob Mould at the 930 club, washington DC, 08 September. It was awesome.

http://www.youtube.com/watch?v=Q-bbz2nVQzc

http://www.youtube.com/watch?v=wo7k5EPWugg&feature=related

http://www.youtube.com/watch?v=_aTlWvGIMu8&feature=related

http://www.youtube.com/watch?v=_jKFUJ_CHz0