Posts Tagged 2012
Benedict Drew | Non-Musician Complex
This was a free download exclusive to The Wire magazine’s website in April 2012, but it still works. I probably seem like the kind of guy who reads the Wire, as I’ve spent more than a couple years making music that no one likes. But I can’t afford the thing. Yet, if I’m really dedicated to this weirdness, can I afford not to read it? Maybe I’m a poseur with this stuff. I like loud guitars all right? And drums? Beats, man. Verses, choruses. I enjoy them. I enjoy this stuff, too. But sometimes I think I’m not enjoying it enough. Should I be enjoying it? I’m not really getting it.
I feel like an album like this should come with some kind of artistic statement. If something’s not inherently enjoyable, then it must be trying to say something. And if we know what it’s trying to say, we can judge if it’s succeeding or failing. I don’t know what this guy is going for so I have no idea. People never thought of liner notes as artistic statements, but they often served that didn’t they? I think we fucked up giving up on liner notes.
The tracks are mostly the names of instruments or just objects he makes some sounds with in an unconventional, or perhaps conventionally unconventional way. On the last track he spells “various” wrong. On purpose? This track is pretty harsh. Spun this record a few times in the background and now I’m just sitting here through the whole thing seeing if there’s a punchline I missed. “varios lengths of wire vibrating” Sounds like a machine in need of service. I mean, I kinda dig it. I like how it winds down from the many vibrating wires or whatever it actually is, to just a couple, then one. But is it supposed to be a parody of this kind of music or not? It could just come to a %
V/A | Something From Nothing: The Art of Rap
In the 60s and 70s, Lou Reed was legit down with the streets. But by the 80s he was punning about the dangers of strange candy. (Which makes him perhaps an innovator of proto-Modern J-pop. But focus.) Crack had just hit the streets. Social programs were being cut. Thousands were dying of AIDS. Lou had lost touch.
Luckily non-white people were also rapping.
Hold on. This is only about what it is. That’s the beauty of Ice-T’s documentary:
It’s also beautifully photographed. And it’s even better than this trailer if that’s not selling you. I don’t think it sold that many people went it came out but it’s there forever so you should check it out. I haven’t been into Hip-hop much in the last few years but I’ll always respect it as an artform. This even makes me take some people seriously I didn’t before, like Kanye. No Jay-Z in this thing, but they got Kanye. Even his best lines used to seem like throwaway jokes to me, but he can pull off a convincing acapella (if not freestyle). And it was funny hearing different stories contradict each other, I always like to hear KRS-One’s version of things.
I should probably get the DVD. I just watched it on Netflix and got the soundtrack. You can enjoy the soundtrack itself as a good mixtape album with some exclusive freestyles, but I wouldn’t recommend it as an intro to or overview of Rap like I would recommend the movie. I feel like the movie is really made for people who do not take Rap or Hip-hop culture seriously, but there’s so many movies about “Hip-hop culture” that really gloss over the Rap part. The doc proves it’s point pretty thoroughly but this soundtrack is a little random. There’s no chronology at all and of course they are limited by rights issues and I assume it’s Ice-T personal taste here, but it doesn’t include all of the freestyles in the movie, I would say the best ones are left out. (Wiki has a complete list of all the songs.)
My personal favorite inclusions are It Takes Two which was so huge when I was a kid but people forget that one outside of the East Coast I think and it doesn’t sound like anything else so it doesn’t fit into most history retellings. And P.S.K. by Schoolly D. Ice-T’s early stuff ripped off Schoolly pretty hard I thought, but he stayed underground so most people don’t even know that. That was cool of him to include.
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Major Lazer | Get Free
I don’t love everything Diplo does and am not really a Dirty Projectors fan but when you combine this goofy Major Lazer project with psudo-serious (or I-don’t-know-what) singer Amber Coffman the result was pretty nice. I fell in love with the song after seeing the video and pretty soon it was stuck in my head 24/7.
This goes on for a while. I need a copy of the song before I lose my mind but the album is not out yet at that point and am I really going to go for a full Major Lazer album? Hell no, who am I trying to kid. I make the rare single purchase from Amazon before realizing I already had a copy of the song on my hard drive which I downloaded before they even made that video. So that happened. But I got the full release with the remixes. It turned out I had also downloaded them before too. Hell. Some impression they made, huh? I listened to them enough times now to feel like I got my money’s worth and I feel fine about it. Fine. According to wiki, Amazon gypped me a remix. I don’t know what that’s about but probably wouldn’t have noticed if I didn’t just check how many there were.
Don’t get me wrong, they’re fine remixes. It’s hard to screw up a song with a nice lilting melody like this one, but they’re all uptempo versions which undermines the slo-mo post-party mood of the original. I also like the low synth sound on the verses, the fake tuba bass line that is a direct stylistic lift from whatever but it sound good, man. None of that in the remixes. They just make up whole new backdrops for the vox, whatever. Nice, but not really revelatory. I’m sure they would sounds great in a club after you are sick of the slow version being played out. Weirdly (or not) the slow version is more uplifting emotionally if not adrenaline pump-inducing.
It’s a good little record first thing in the morning to slowly ramp up your mood into consciousness and some kind of physical activity. (If that’s your thing.) %
PS: I noticed there are some performances where Ms. Coffman omits what some have dubbed “the Tarzan yell”, probably because someone told her it was racist right before she went on stage or something. Dude? It’s a Morricone reference. Good the Bad and the Ugly? Are you ok, dude?
Yamantaka // Sonic Titan | YT//ST
Hm. According to…my own internet presence…I’ve gone completely insane as of a few years ago. I’ve just been looking through what is the backlog of records I should be in the process of reviewing, if I’m taking this project seriously, and uh…it’s not looking too good. But I know better. The truth is, I’ve been insane most of my life maybe until…today? I dunno, people can snap and go insane one day, not always traumatically, just a lot of little things build up sometimes. Why can’t it work the other way around? I’ve had a few good night’s sleep in a row and things have been generally ok…maybe that’s all it took. After…so many years.
So anyway, in Japan, it’s Buddha’s birthday today, or yesterday, since it’s already tomorrow there. Some people think it’s in early December. It’s not really important. But you’re supposed to spend the day in mindful reflection, I guess, which in what you’re supposed to be doing all the time, but it’s like every other religion pretty much in that most people aren’t taking it very seriously most of the time.
So here we are. I’m picking this one unrandomly out of the pile.
Hey, I’m glad I have a blog. I would not have remembered this album. I’m trying to reorganize my files and it would take years to get to this listening to this again. Goddamn mess. What the hell do you expect from a crazy person? It made my Best of 2012 (altho it came out late 2011), which should really be a best of albums I already reviewed, shouldn’t it. Well.
☸☸☸☸☸
First of all: could we just call this album “self-titled”? We could. It is. But you know what the deal with this band is? They’re fuckin’ cool. It’s a good thing. It’s a band. That’s why you start a fuckin’ band, to do something cool. Look, if you put some unicode bullshit in your name that has to be copypasted every time, you’re kind of a cock. Granted. Some would say double slashes are just as pretentious, but it ain’t. It’s just the right amount. So the name of this album just looks better in this format so I’m using it, but let’s be clear that it a self-titled album and we’re not going to say “why-tee-slash-slash-ess-tee” in conversation, if it comes up. Which it should. Also acceptable at this point would be “the album” or, in the future, “the first one”. OK.
This band has a whole live element I don’t know much about, it’s supposedly “operatic”. I only get this from the first track, Raccoon Song, which is the most forgettable. I had literally forgotten about it. This is definitely against the general common sense “rules” for new bands, which is to put your best song first. But another of those rules is to not make the cover some kind of incomprehensible artwork that does not even have the name of the band on it, but like, a picture of the band. That makes sense. But man, fuck making sense. This cover rules. There’s no way I could not listen to a record with this cover. I would be so bummed if it wasn’t great. What the fuck is that thing? Fuckin’ cool, that’s what.
Also, there’s only 7 songs that average out to average length, for a total of only about 31 minutes. Maybe that doesn’t seem like a full album, but how many songs do you need. More than 1 or 2? NO. It’s just about perfect. If you can’t say something in under 45 minutes, you don’t have anything to say.
And what are they saying? Absolutely nothing coherent or intelligible as a real message. JUST THE WAY IT SHOULD BE. (Or not, get off my back, I’m just not-crazy today.) The only words I can make out on this album are in Japanese, a language I don’t believe any of the members actually speak. They translate to “I AM STAR CAT.” YES.
This is the single I guess, Hoshi Neko. The big stand out with a with a phased intro and the catchy Japanese hook. These are Canadians, btw. I assumed at least one was J-Canadian but apparently not. The bandcamp page uses the tags “chinese” and “iroquios”, so it’s intentionally mixing things up. Seems like some of the references are Buddhist and some are Native American…maybe. Maybe they are just making some of the shit up out of thin air. You can totally do that when you work on something cool. It’s not like fucking fan fiction. There’s no canon!
The other songs are also pretty good put not as pop. “Operatic” outside of whatever the live show consists of is squarely within the concept and sound more or less of “rock opera”, altho this is usually a bad thing in my opinion. They make something that works. I think they achieve the effect by making music that is more like soundtrack music than part of a musical.
Reverse Crystal is like a more-rocking out/less Kraut Stereolab with those same kind of high-register, unintelligible, repeating vocal phrases, and even a long second-half pop drone coda but with a lot of cymbal bashing, and it’s got like an Iron Butterfly organ solo in there. Great.
A Star over Pureland is the only explicit Buddhist reference I can find apart from the name, which most people(?) will people recognize from the Boredoms’ Eye Yamantaka (it’s not his real name). Altho if you want to get into it, these are reference to competing schools of Buddhism. Yamantaka is mostly a Tibetan thing. Pure Land is a like a Buddhist afterlife which not all Buddhists believe in. No, there’s no way to prove I am not looking this up as I go along. Oh wait, there is Pure Land in Tibet. I did just look that up. Well, there you go. There’s some Tibetan cymbals and horns in there. I knew that. I know stuff. Guitar freak-out on this track is cool, but it’s clear the keys are more their thing. It’s definitely the climax of the show, but as far as songs and general moods go, they are best and building up the tension than actually exploding. Or resolving. But it all seems worth it for the parts that work.
You know what, Crystal Fortress Over a Sea of Trees could also totally be a Tibetan thing. I don’t know that much about the Tibetan stuff. But I do know it has another killer organ solo. The particular synth rhythm track they use sounds a little out of place. It’s like we’ve been in something like a 70s horror movie and now it’s like Knight Rider all of sudden. Doesn’t quite mesh. Ends with some vague chants. Maybe that is in Tibetan. Usually done by dudes of course so it doesn’t sound anything like the standard stuff, or maybe it’s not that at all. Questions, with answers, that I am not going to try to find out. It just doesn’t matter. %
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