Yes, I was front row center for Brian Setzer's orchestra last night. Yes, they were tickets my wife purchased, however, let me point out that I clearly have a soft spot for Americana ( from The Blasters to X to even QOTSA, one cannot be from Los Angeles without an appreciation for Rockabilly, Blues, and Country) and who doesn't love a Gretsch guitar, stand up bass, and Stand up Drummer? No, it's not innovative. It's musical "comfort food"- but would you say people eat more Burgers or more Pate? Just like a burger, if it was done right, it's satisfying, and actually good for you- and Mr Setzer, despite starting to look like Buck Owens on Hee Haw, serves up some "good for you" jazz chords, and alternate blues scales in each and every traditional song he plays. There were 4 year olds in the audience, and I think it's far, far more righteous for them to see Brian Setzer than The Wiggles, right? If it were your kid, what would you start them out on to set them right? Would you send them straight to Jacques Brel and Lou Reed? How about John Zorn and Mike Patton? If you would, I don't pity your kids, I pity you, because your kids are going to give you such problems.... I think that all things considered The Brian Setzer Orchestra is an excellent choice for Family Fare. If the Beatles were to re-unite, sure, that'd about cover it, as well, but then you'd have to explain both death and the coming zombie apocalypse to your kids, and that's hardly a good Christmas, now is it?
Still, my kids are grown, why am I going, right? Because I'm still a human being with needs, ok? Jeez, lay off with your vigorous steep learning curve, will ya? ( Don't get me wrong, I know that nobody cares, and are skipping this post to read the Scott Walker review, or are Russian porn bots, but this is fun for me to pretend it's a debate) I went eagerly to see Brian Setzer because I'm not opposed to comforts, especially when they are guilt free, and the guy does make it pretty darn guilt free. Hot musicians playing challenging music? Yup. Using music to communicate complex emotions? Yup. Dance based rock and roll/ Ah, Yup. So, why wouldn't you see the Brian Setzer Orchestra?
Wednesday, December 5, 2012
Sunday, December 2, 2012
Kylesa- From the Vaults Vol 1
Wow, more like volume 11... I forgot how aggressive and loud Kylesa used to be....
OK, so this is a stop gap release by the band. Normally, that's a very bad sign, and while it's not a good sign, here, it is more necessary than it might otherwise be. See, normally, a band releases a collection of B sides and rarities when they're stymied and running out of steam, and generally about to break up. It's one step away from a "greatest hits" LP which is a sure sign of a band that's either entirely gone corporate, or is completely out of ideas.
Then, there's a the Re-Mix Album which is either a cash-in, or an admission that they've got no idea what to do next. That's in opposition to a Dub, which is fueled more by external voices hearing something in the music that the band didn't and so is less about band dynamics than it is about perception.
So, this is a collection of rarities and B sides by Kylesa, and earlier I said it's more necessary than most- that's because there's two distinct sides to Kylesa- on the one side, they're an incredibly loud, dense psychotronic sludge band- like Tragedy or Buzzoven meets Sleep or something, but on the other side, they're a mainstream metal band that can play a gig like Bonnaroo with Phish heads in the audience. So, showing people who might have stepped in with Spiral Shadow, and are expecting a psychedelic Foo Fighters out of them that they come from a darker, grittier and louder place is probably more necessary than hearing some band's noodlings from when they were stoned in the studio.
So, for them that don't know- this is the Kylesa of yore- sludge metal from a decidedly psychotronic, as opposed to psychedelic place- the difference is that this isn't a mellow thing about chemically altered good times- more like a medicinally impaired dysfunctional mental state. This is like Mike Tyson on Zoloft and mixed drinks, having a 10 second psychic moment of lucidity, not like Jeff Bridges chilling on beer and weed having a ten minute blissful trance. What makes it still beautiful is that they're able to find moments of transcendence in crushed out sludge. I dig them because they find the sweet spot between the joyful stoners like Torche and the tribal rage of Neurosis. ( Actually, that'd be a hell of a gig- Torche opening, Kylesa warming up, and then Neurosis headlining)- that's a sweet spot previously occupied by QOTSA, so yes, I dig them a lot. This album is more necessary than it otherwise could be because it brings up the Neurosis end of the spectrum, but it still is filler. They're biding time trying to come up with a worthy follow up to Spiral Shadow ( which is a titanic monolith to try to meet). It will be worth a lot less if the next one isn't a great just-left-of-mainstream LP, because then it'll be the closing of a loop back to the beginning on Kylesa. ( Which, BTW is why I'm not holding my breath on the new QOTSA LP- bringing Dave Grohl and Nick back in so publicly smacks of retread more than return. I hope I'm wrong, and I'm blown away, but there's something that's warning me this may end up being a grunge cabaret nostalgia act) So, if you get this, it's because you really dig Kylesa. Otherwise, let's hope the new LP comes soon....
OK, so this is a stop gap release by the band. Normally, that's a very bad sign, and while it's not a good sign, here, it is more necessary than it might otherwise be. See, normally, a band releases a collection of B sides and rarities when they're stymied and running out of steam, and generally about to break up. It's one step away from a "greatest hits" LP which is a sure sign of a band that's either entirely gone corporate, or is completely out of ideas.
Then, there's a the Re-Mix Album which is either a cash-in, or an admission that they've got no idea what to do next. That's in opposition to a Dub, which is fueled more by external voices hearing something in the music that the band didn't and so is less about band dynamics than it is about perception.
So, this is a collection of rarities and B sides by Kylesa, and earlier I said it's more necessary than most- that's because there's two distinct sides to Kylesa- on the one side, they're an incredibly loud, dense psychotronic sludge band- like Tragedy or Buzzoven meets Sleep or something, but on the other side, they're a mainstream metal band that can play a gig like Bonnaroo with Phish heads in the audience. So, showing people who might have stepped in with Spiral Shadow, and are expecting a psychedelic Foo Fighters out of them that they come from a darker, grittier and louder place is probably more necessary than hearing some band's noodlings from when they were stoned in the studio.
So, for them that don't know- this is the Kylesa of yore- sludge metal from a decidedly psychotronic, as opposed to psychedelic place- the difference is that this isn't a mellow thing about chemically altered good times- more like a medicinally impaired dysfunctional mental state. This is like Mike Tyson on Zoloft and mixed drinks, having a 10 second psychic moment of lucidity, not like Jeff Bridges chilling on beer and weed having a ten minute blissful trance. What makes it still beautiful is that they're able to find moments of transcendence in crushed out sludge. I dig them because they find the sweet spot between the joyful stoners like Torche and the tribal rage of Neurosis. ( Actually, that'd be a hell of a gig- Torche opening, Kylesa warming up, and then Neurosis headlining)- that's a sweet spot previously occupied by QOTSA, so yes, I dig them a lot. This album is more necessary than it otherwise could be because it brings up the Neurosis end of the spectrum, but it still is filler. They're biding time trying to come up with a worthy follow up to Spiral Shadow ( which is a titanic monolith to try to meet). It will be worth a lot less if the next one isn't a great just-left-of-mainstream LP, because then it'll be the closing of a loop back to the beginning on Kylesa. ( Which, BTW is why I'm not holding my breath on the new QOTSA LP- bringing Dave Grohl and Nick back in so publicly smacks of retread more than return. I hope I'm wrong, and I'm blown away, but there's something that's warning me this may end up being a grunge cabaret nostalgia act) So, if you get this, it's because you really dig Kylesa. Otherwise, let's hope the new LP comes soon....
Saturday, December 1, 2012
I live near enough to DC that I gotta comment.
Bad Brains and The Evens both have new ones, and well, I have copies of both. I don't want to be negative, so I'll just say that I was a big fan of Bad Brains, especially the "I against I" LP, but I'm not a fan of everything they do. While the Punky reggae they do is appreciated, this LP "Into the Future" lacks the crazed urgency that made them special. Perhaps it's time to put Bad Brains to bed.
The Evens on the other hand are decent, and actually pretty good when they concentrate on Amy Farina. I actually probably should like them a lot more than I do But, there it is. I don't entirely like them. Part of it is personality- Mr Mackaye and I have had dealings, very far in the past, and I don't like him all that much. Don't get me wrong- we all have off days, and we all change over the years, but I still don't care for the guy, as a person. There's some class issues, and other high minded stuff involved in that, but mainly, it's just a personality clash. But, musically, I also feel like I've heard the Evens before, and done better. When they rock out, they're in Sleater Kinney 's shadow, they're in a debt to K records ( in general) and when they try to be gentle, they're behind Unrest and Velocity Girl. My problem is that I'm already disqualifying myself for analysis because of the aforementioned personality issues. However, I hope I've generated enough goodwill through my candor that you'll understand that I think there's more worthy material out there by other bands in this area, even, than The Evens. For example, J Robbins can do no wrong- whether it's Jawbox, Burning Airlines, Channels or the Office of Future Plans, he's got you're post punk with a DC twist covered. Likewise, for carrying on the K records spirit but in a modern way, Wild Flag, Screaming Females, and a bit of a stretch, but The Dismemberment Plan... Again, I'm not saying that The Evens suck, and I'm not saying I hate the record, just that it doesn't get as much play from me because there are so many other things I prefer. That's about as much as I can say for the two big recent "local" releases.
Now, I'd like to get in a quick whine- Quicksand have reformed and will play this area, but dammit, they're playing at the fracking Black Cat. I really don't like that venue. I mean really don't like. The neighbourhood is beyond the usual uncertainty that rock clubs occupy- it's flat out bad. Parking sucks, and it's hard to get there from here, as well. While it's not as awkward and bad-sounding as the Ottobar, it is still awkward and bad sounding- so, my whine is this- why Walter why? Couldn't you book with the 930 club, or The Fillmore, or hell, Jaxx, or even the aforementioned Ottobar? I'm seriously having doubts about going to see Quicksand because I hate the venue so much. On a Tuesday night, no less? Arrrgh. Well, at least it's sold out, so my ticket might go to a good home....
The Evens on the other hand are decent, and actually pretty good when they concentrate on Amy Farina. I actually probably should like them a lot more than I do But, there it is. I don't entirely like them. Part of it is personality- Mr Mackaye and I have had dealings, very far in the past, and I don't like him all that much. Don't get me wrong- we all have off days, and we all change over the years, but I still don't care for the guy, as a person. There's some class issues, and other high minded stuff involved in that, but mainly, it's just a personality clash. But, musically, I also feel like I've heard the Evens before, and done better. When they rock out, they're in Sleater Kinney 's shadow, they're in a debt to K records ( in general) and when they try to be gentle, they're behind Unrest and Velocity Girl. My problem is that I'm already disqualifying myself for analysis because of the aforementioned personality issues. However, I hope I've generated enough goodwill through my candor that you'll understand that I think there's more worthy material out there by other bands in this area, even, than The Evens. For example, J Robbins can do no wrong- whether it's Jawbox, Burning Airlines, Channels or the Office of Future Plans, he's got you're post punk with a DC twist covered. Likewise, for carrying on the K records spirit but in a modern way, Wild Flag, Screaming Females, and a bit of a stretch, but The Dismemberment Plan... Again, I'm not saying that The Evens suck, and I'm not saying I hate the record, just that it doesn't get as much play from me because there are so many other things I prefer. That's about as much as I can say for the two big recent "local" releases.
Now, I'd like to get in a quick whine- Quicksand have reformed and will play this area, but dammit, they're playing at the fracking Black Cat. I really don't like that venue. I mean really don't like. The neighbourhood is beyond the usual uncertainty that rock clubs occupy- it's flat out bad. Parking sucks, and it's hard to get there from here, as well. While it's not as awkward and bad-sounding as the Ottobar, it is still awkward and bad sounding- so, my whine is this- why Walter why? Couldn't you book with the 930 club, or The Fillmore, or hell, Jaxx, or even the aforementioned Ottobar? I'm seriously having doubts about going to see Quicksand because I hate the venue so much. On a Tuesday night, no less? Arrrgh. Well, at least it's sold out, so my ticket might go to a good home....
Sunday, November 25, 2012
See what I saw- Torche edition.
Well, this time, I'm pretty obviously there. Here's a clip I found on Youtube, I'm on the left foot of the stage, thick specs and all. I was distracted by trying to preserve my beer and 10" record, but yeah, it was good.
War, Inc
So, nearly everyone hated this 2008 film, and I can see why. It's political and cultural satire for our ritalin obsessed undereducated overstimulated Cartoon Network-based Viacom simulated "lives". It's also partially written by Mark Leyner and Jeremy Pikser. Leyner is an author who specializes in overkill, and Pikser wrote Bulworth, the very definition of ham-fisted satire, even if it was correct. See, it's easy to make it sound like I hate it, but I think that's by design. There's something very subtle underneath the bright neon satire. I actually liked Bulworth in that it showed a basic truth, despite itself- that we are ruled by deeply vain people- Warren Beatty or Bill Clinton, you're talking about a guy who's convinced he's friggin Awesome. Likewise, in the little asides, and in the wink-wink nudge nudge acting, there's an awareness that everyone in this film is part of the same machine they're satirizing. I think that comes from Mark Leyner, who targets his overkill, 9 times out of 10, at himself, but John Cusack also is a pretty self-aware movie star, so there's that angle. There's also a streak of nihilism you can read into it, and I think many critics did- it seems to offer no solution,only retreat. However, there's another premise that might account for how little praise the film got- this isn't a "democratic left" film. It's not "republican right", either. It offers up a far darker, but far more insightful view- so long as money is involved, we can't trust ANY of them. The baseline here is that we cannot trust storytellers, including supposedly "honest" ones- Anderson Cooper , amoungst others, is lambasted as being a part of the problem, as is Dick Cheney, as is just about everyone. There's a scene that's nearly a stock scene in a war movie, but the part that reveals what the satire is, I find truly telling: our protagonist is looking for a secret hideout, so he tries to bribe the information out of a little kid, who milks him for more money. Stock scene, and deeply cynical, right? Well, as our hero leaves with the girl he's trying to save, he finds the kid has torched his ride and the kid says "next time you should bring candy". The satire isn't about the convention in a movie of bribing the local- the audience is being satirized for expecting that some third world nation child would want American dollars. The film is saying that we have a pretty screwed up view of the world, and doesn't give us the "out" that we're only as smart as our cultural overlords allow us to be- We're smart enough to know that we're watching a movie , and smart enough to know a cliche, it's not about our intelligence, but rather about our lack of compassion, and our racism- so going back to why the Nihilism- it's because these characters, as people, not as characters in a movie- where would they go? What would they do? Under the best of circumstances, they're screwed up, badly. The only happiness they can know is to hide. It's therefore not espousing that we all retreat- it's espousing that we treat people as people, not characters, brands, or logos. I bet Naomi Klein didn't like the movie, but I can see how the makers of the movie felt they were being true to her message in "Shock Doctrine". Just like that book, the only real answer is to re-set our world view, not to follow this program or that, and I don't think many people are ready for that. I've got proof that I'm right in my reading of the film, and proof that I'm right that people didn't "get" it. That's a bit besides the point, however, in that I bring up the whole mess because it dovetails with my theme of the moment that rather than trusting reviews or trusting artists, we should trust our own experience of Art. Again, the solution I'm proposing against "mass culture" is individual, idiosyncratic culture. Even if no one else will understand. Re-watching this film reminds me that it can be a political solution, as well....
Friday, November 23, 2012
Scott Walker Bish Bosch
I find it's best to never fully believe an Artist. They'll tell you the truth, but it'll be "their truth"- it will be heavily subjective, and from a perspective that isn't yours. Such is definitely the case with Scott Walker, and if you follow me, it'll strip away most of the enigma from him, so, only read this if you want the mystery gone.
See, he started out as a crooner- more aligned with Perry Como, Neil Sedaka, Burt Bacharach and so on than the Teen pop he was identified as being. Then, he took the crooner style to an anti-confessional style just as confessional singer-songwriters got popular. Along the way, he got a knack for delivering lyrics that were astute "slice of life" kitchen dramas of the the minute moments of pathos in every day British life. Then, goes the myth that created the mystery, he retreated and became surreal. I don't think that's it at all- instead, I think he wanted to get even more concrete- he abandoned narrative, he abandoned pop song structure, and pursued a more and more accurate depiction of what "real life" as he saw it, occurred. Our thoughts don't follow a narrative, so why should his lyrics? Likewise, our lives don't have a pop soundtrack, so his songs are not melodic, but evocative. You cannot simultaneously be an observer and the observed, so he became reclusive and removed. I don't see any mystery in his method.
So, why listen to Scott Walker? Because just like real life, amidst the cacophony and chaos, we create order in our minds, we come up with harmonies in our head. So, I'd like to think that what my brain does with his perspective is to add my pleasant delusions, and thus, I hear far more pretty things in my life than he does in his.
It's certainly not "easy" listening, so I don't blame anyone for hating this, but this points out the other side of "truth"-don't fully trust critics, either. They're only able to give you their perspective, as well. Ultimately, you have to trust your ears, eyes and mind. That's the value in mentioning any of this-to get you to trust me a little less in my aesthetics, and a little more in my philosophy.
See, he started out as a crooner- more aligned with Perry Como, Neil Sedaka, Burt Bacharach and so on than the Teen pop he was identified as being. Then, he took the crooner style to an anti-confessional style just as confessional singer-songwriters got popular. Along the way, he got a knack for delivering lyrics that were astute "slice of life" kitchen dramas of the the minute moments of pathos in every day British life. Then, goes the myth that created the mystery, he retreated and became surreal. I don't think that's it at all- instead, I think he wanted to get even more concrete- he abandoned narrative, he abandoned pop song structure, and pursued a more and more accurate depiction of what "real life" as he saw it, occurred. Our thoughts don't follow a narrative, so why should his lyrics? Likewise, our lives don't have a pop soundtrack, so his songs are not melodic, but evocative. You cannot simultaneously be an observer and the observed, so he became reclusive and removed. I don't see any mystery in his method.
So, why listen to Scott Walker? Because just like real life, amidst the cacophony and chaos, we create order in our minds, we come up with harmonies in our head. So, I'd like to think that what my brain does with his perspective is to add my pleasant delusions, and thus, I hear far more pretty things in my life than he does in his.
It's certainly not "easy" listening, so I don't blame anyone for hating this, but this points out the other side of "truth"-don't fully trust critics, either. They're only able to give you their perspective, as well. Ultimately, you have to trust your ears, eyes and mind. That's the value in mentioning any of this-to get you to trust me a little less in my aesthetics, and a little more in my philosophy.
Sunday, November 18, 2012
Saw Anthony Bourdain
So, my wife likes reality TV a lot more than I do. She likes the house hunting, Travel and "ghost" type of shows as opposed to the Kardsahian, bored housewife or beauty pageant type of shows. She also reads a lot of Food network books. She also loves the bluesy type of garage rock that Jon Spencer plays, or the Black Keys pursue so, Anthony Bourdain is a natural fit for her. I have become a bit of a fan by osmosis. I have a bit of the oppositional nature of my teen aged years, still, so I still divide the world up a bit as "with us" and "against us". In that very false dichotomy ( there is no cultural "them" in order for there to be an "us"- people just have tastes) Bourdain would, by image, consistently come up on the "us" side of the equation.
However, I've worked in Entertainment, as a broad category, so I'm choosing my words very carefully, here. I no more know what Tony Bourdain really likes to listen to at home, or what clothes he wears when going to the market, nor how he keeps his home than I know how he was as a chef. But, in that "Reality" of TV, he has featured Josh Homme, The Black Keys, Sleigh Bells and his theme music is by The Jon Spencer Blues Explosion. His books have a slightly Hunter S Thompson gonzoid edge, and he dresses like a relatively rich guy who has been at the back of clubs I've gone to, as well, so, again, the image is of a rapidly aging hipster, much like most of my friends, so, yeah, that would seem to be sympathetic to my cause, at least. Therefore, the guy got me to listen to him. Now a fair percentage of the TV shows he's done trade in the same kind of cheap exoticism that was Bourgie and imperial back when Oscar Wilde was a hot topic, but some of the message- about trying to appreciate everywhere for simply being what it is, about travel being its own reward, and about just being friendly- I can get behind that, no problem. No, I'm not a total hypocrite nor am I unaware of how much of a jackass I can be, so, yes, I can be bourgie and imperial and worse as well. I don't have to support things that are against us though, right? So, it wasn't until Anthony Bourdain went against Paula Deen that I could get behind the guy. Simply put, I more than share the belief that a large portion of American culture is designed to kill people, and sell them crap to make that slow death more palatable, so I'll gladly support someone willing to use their celebrity, however false it may be, against that process.
So, I was glad to go when my wife bought tickets. It was basically the same show as this guy saw. It's very well-rehearsed, but pretty funny, and fairly insightful. We got VIP passes, so it was nice to see Benn and Rachel from Atomic were partially sponsoring the event. The mirage of "Us" is always better maintained when you see friends are involved.
I even got a book signed ( To "Max Van" 'cause that's how I roll) and I can report that, up close and personal? While I still have no clue as to who Tony Bourdain is, "Anthony Bourdain" is definitely "one of us"- he might be a bit self-involved and aging badly, but he is trying to raise the flag for beauty, truth, art and culture. That's an "us" that doesn't need a 'them" for justification, right?
However, I've worked in Entertainment, as a broad category, so I'm choosing my words very carefully, here. I no more know what Tony Bourdain really likes to listen to at home, or what clothes he wears when going to the market, nor how he keeps his home than I know how he was as a chef. But, in that "Reality" of TV, he has featured Josh Homme, The Black Keys, Sleigh Bells and his theme music is by The Jon Spencer Blues Explosion. His books have a slightly Hunter S Thompson gonzoid edge, and he dresses like a relatively rich guy who has been at the back of clubs I've gone to, as well, so, again, the image is of a rapidly aging hipster, much like most of my friends, so, yeah, that would seem to be sympathetic to my cause, at least. Therefore, the guy got me to listen to him. Now a fair percentage of the TV shows he's done trade in the same kind of cheap exoticism that was Bourgie and imperial back when Oscar Wilde was a hot topic, but some of the message- about trying to appreciate everywhere for simply being what it is, about travel being its own reward, and about just being friendly- I can get behind that, no problem. No, I'm not a total hypocrite nor am I unaware of how much of a jackass I can be, so, yes, I can be bourgie and imperial and worse as well. I don't have to support things that are against us though, right? So, it wasn't until Anthony Bourdain went against Paula Deen that I could get behind the guy. Simply put, I more than share the belief that a large portion of American culture is designed to kill people, and sell them crap to make that slow death more palatable, so I'll gladly support someone willing to use their celebrity, however false it may be, against that process.
So, I was glad to go when my wife bought tickets. It was basically the same show as this guy saw. It's very well-rehearsed, but pretty funny, and fairly insightful. We got VIP passes, so it was nice to see Benn and Rachel from Atomic were partially sponsoring the event. The mirage of "Us" is always better maintained when you see friends are involved.
I even got a book signed ( To "Max Van" 'cause that's how I roll) and I can report that, up close and personal? While I still have no clue as to who Tony Bourdain is, "Anthony Bourdain" is definitely "one of us"- he might be a bit self-involved and aging badly, but he is trying to raise the flag for beauty, truth, art and culture. That's an "us" that doesn't need a 'them" for justification, right?
Friday, November 16, 2012
Events
So, I've been to another Torche show this week. Torche stomped a new one out, literally- they played both sides of their unreleased next 7 inch, and if you thought the bomb string was dead, you're in for a shock- they crushed the low end with a pummeling glee like demented dwarves forging axes made of bass. It was a strange show as an event, though. Three local bands and Torche on a wednesday night? yup. And furthermore , it was an odd mix of a power metal and retro-thrash metal type of band playing, and did I mention no one was the traditional "Metal God" long hair Thor lookin' type of dude. Very odd...
So, then, tomorrow, I've got the Finnish Bazaar. That's always a different experience. A Fully Scandinavian bake sale. Then, I see Anthony Bourdain . So, yes, I really am the mutant that I say I am- because name me one other person who will have done all three events by the end of the week. You can't. There were less than 100 of us at Torche, and of the 10,000 folks who will go to Finnspark, I bet none were amoung those 100. Even if there was one, besides me, they wouldn't also be going to see a TV travel guy. So, there you go. As has been often declared- we are what we do, not what we say.
So, then, tomorrow, I've got the Finnish Bazaar. That's always a different experience. A Fully Scandinavian bake sale. Then, I see Anthony Bourdain . So, yes, I really am the mutant that I say I am- because name me one other person who will have done all three events by the end of the week. You can't. There were less than 100 of us at Torche, and of the 10,000 folks who will go to Finnspark, I bet none were amoung those 100. Even if there was one, besides me, they wouldn't also be going to see a TV travel guy. So, there you go. As has been often declared- we are what we do, not what we say.
Monday, November 12, 2012
Too Popular
So, I've got a few things to write about, at long last. Hope you weren't waiting around.
So, I've been listening to the Deftones' Koi No Yokan ( which I'm led to believe translates as "Love at First Sight") and I think it's the best thing they've done since "White Pony" . I don't fully understand why Deftones don't get their due- they pretty much have invented their own sound, which is this mix of Goth, metal, hip hop, and shoegazer elements that seems like a much more harrowing version of what The Walker Brothers were doing. You've got the same billowing clouds of sound, with strangely dispassionate vocals, crooned in a way to emphasize the strain in the voice, and oblique lyrics about minute events. So, why aren't they critics' darlings?
So, this one is less rythmic, more reflective- like the self titled LP a few years ago, but with an emphasis on melody that was absent on that record. The lush atmospherics are there, like on a Neurosis or Mogwai LP, but more dynamic than that might suggest. Overall, it's the most brutal post metal you'll hear, the most "indie rock" that metal gets, and the least "pop" melody gets. So, again, I question why folks aren't all over this... The only explanation I can give is the taint of "nu metal" that they carry- and the reason why that is a taint is that it got too popular with the wrong people- as bad as that sounds, it's a very real complaint- who wants to brave an audience filled with meat heads, even if the songs are great?
That's the reason why you won't catch me going to Crafty Bastards, again, after this past weekend. Last years was not an anomoly . The hordes of MTV influenced hipsters have taken over and crushed the life out of it, to the point that I feel bad for suggesting that people go to it. It was horrible. Parking was inadequate, to the point that I got into a "fender bender" accident- and I've not been in an accident in over 20 years! I was around so many humans that it aggravated my cold into a bad case of the flu- again, something that hasn't happened in years. Food and drink was impossible- hour long lines , limited selection, shortages. Add that it was taking place in a parking lot in an industrial wasteland part of town, and it felt like going to a third world market, that had been invaded by impossibly hip yuppies from San Francisco.
It took away my one solid reason for going- to see and talk with some of my favorite crafty people. There was no talking in a crowd 50,000+ , only yelling and people shoving. So, my wife and I bought some stuff from Jon Wye, Tina Seamonster, Berkley Illustration and Alternate Histories and got the hell out, to go kill time at a less crowded shopping Mall ( yes, the freakin' Mall was preferable) until we met up with an out-of-town friend for a late dinner.
So, yes, there is more to hating when things get too popular with the wrong crowd than simple hipster elitism.
As I've been typing, MTV 2 has been playing indie rock- of the Two Door Cinema Club Grizzly Bear, Circa Survive and Silversun Pickups variety. That might be because it's not yet 0700 AM, but it still means that the mainstream is coming for them, so forget the kind of venues that suit their kind of intimate rock. Likewise, I have to forget about seeing my friends at Crafty Bastards, and the critics will never give Deftones their due.
So, I've been listening to the Deftones' Koi No Yokan ( which I'm led to believe translates as "Love at First Sight") and I think it's the best thing they've done since "White Pony" . I don't fully understand why Deftones don't get their due- they pretty much have invented their own sound, which is this mix of Goth, metal, hip hop, and shoegazer elements that seems like a much more harrowing version of what The Walker Brothers were doing. You've got the same billowing clouds of sound, with strangely dispassionate vocals, crooned in a way to emphasize the strain in the voice, and oblique lyrics about minute events. So, why aren't they critics' darlings?
So, this one is less rythmic, more reflective- like the self titled LP a few years ago, but with an emphasis on melody that was absent on that record. The lush atmospherics are there, like on a Neurosis or Mogwai LP, but more dynamic than that might suggest. Overall, it's the most brutal post metal you'll hear, the most "indie rock" that metal gets, and the least "pop" melody gets. So, again, I question why folks aren't all over this... The only explanation I can give is the taint of "nu metal" that they carry- and the reason why that is a taint is that it got too popular with the wrong people- as bad as that sounds, it's a very real complaint- who wants to brave an audience filled with meat heads, even if the songs are great?
That's the reason why you won't catch me going to Crafty Bastards, again, after this past weekend. Last years was not an anomoly . The hordes of MTV influenced hipsters have taken over and crushed the life out of it, to the point that I feel bad for suggesting that people go to it. It was horrible. Parking was inadequate, to the point that I got into a "fender bender" accident- and I've not been in an accident in over 20 years! I was around so many humans that it aggravated my cold into a bad case of the flu- again, something that hasn't happened in years. Food and drink was impossible- hour long lines , limited selection, shortages. Add that it was taking place in a parking lot in an industrial wasteland part of town, and it felt like going to a third world market, that had been invaded by impossibly hip yuppies from San Francisco.
It took away my one solid reason for going- to see and talk with some of my favorite crafty people. There was no talking in a crowd 50,000+ , only yelling and people shoving. So, my wife and I bought some stuff from Jon Wye, Tina Seamonster, Berkley Illustration and Alternate Histories and got the hell out, to go kill time at a less crowded shopping Mall ( yes, the freakin' Mall was preferable) until we met up with an out-of-town friend for a late dinner.
So, yes, there is more to hating when things get too popular with the wrong crowd than simple hipster elitism.
As I've been typing, MTV 2 has been playing indie rock- of the Two Door Cinema Club Grizzly Bear, Circa Survive and Silversun Pickups variety. That might be because it's not yet 0700 AM, but it still means that the mainstream is coming for them, so forget the kind of venues that suit their kind of intimate rock. Likewise, I have to forget about seeing my friends at Crafty Bastards, and the critics will never give Deftones their due.
Saturday, October 20, 2012
I was going to write a post...
But Bruce LaBruce, of all people, said it first, and better. Boing Boing, for all their "White Hat" reputation, are clearly floundering on this topic, while Vice are, for all that they have contributed to the problem, at least striving to do better. Here's the one thing I can still add- I'm not smart nor am I savvy enough to fully understand, but it seems to me that with the internet, as with real life, it isn't as simple as white hat/black hat. Sometimes, the sarcastic trolls at Vice are right and good, and sometimes the people's advocates at Slate are wrong, and cynical. Sometimes, Anonymous are destructive, and sometimes constructive, and sometimes the harder you try to be constructive, the more destructive you become. The internet is just a network of people. Technology is just another way of saying tools. People are a force, people are good and bad, and people progress and regress- don't get it twisted.
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