Fugazi at the Wilson Center, Washington D.C. on December 29th, 1988.
Labels: American Hardcore, Music
Monday, January 04, 2010
Cover Versions by Littlepixel
Classic records lost in time and format, re-emerged as Pelican books. Brilliant!
Classic records lost in time and format, re-emerged as Pelican books. Brilliant!
Labels: Design, Literature, Music
Saturday, November 21, 2009
Great Moments in American Hardcore #1
Sunday, November 01, 2009
Supercollider 140
"When Dan [Stowell] started tweeting snippets of SuperCollider code he expected a lot of "throwaway waffle" but collated also a bunch of really interesting things...Many of these pieces are actually generative, so if you re-run the source code (the track titles) you get a new piece of music."
—Susanna Glaser at The Mire
writing about the live coding music project Supercollider140, 22 pieces by artists from around the world, each piece created with just 140 characters of code.
"When Dan [Stowell] started tweeting snippets of SuperCollider code he expected a lot of "throwaway waffle" but collated also a bunch of really interesting things...Many of these pieces are actually generative, so if you re-run the source code (the track titles) you get a new piece of music."
—Susanna Glaser at The Mire
writing about the live coding music project Supercollider140, 22 pieces by artists from around the world, each piece created with just 140 characters of code.
Labels: Edge of Chaos, Music
Monday, June 22, 2009
This just in from Miami..
Admittedly, I have not been posting a hell of a lot on this site as of late, let alone posts that push the endless music marketing that flows into my inBox everyday. But this is definitely worth sharing.
Mayday have just released an EP for free download called Technology and it is damn good. Think new-album Gnarls Barkley or Outkast at their best. The stand out track on first listen is Crossroads & Avenues, a hard driving, psychedelic soul/hiphop piece that evolves into what can only be described as beatbox drum n bass. Catchy stuff that pulls no punches. Check it out.
Admittedly, I have not been posting a hell of a lot on this site as of late, let alone posts that push the endless music marketing that flows into my inBox everyday. But this is definitely worth sharing.
Mayday have just released an EP for free download called Technology and it is damn good. Think new-album Gnarls Barkley or Outkast at their best. The stand out track on first listen is Crossroads & Avenues, a hard driving, psychedelic soul/hiphop piece that evolves into what can only be described as beatbox drum n bass. Catchy stuff that pulls no punches. Check it out.
Labels: Music, The Payola Chronicles
Tuesday, March 03, 2009
The Hardcore Continuum
Simon Reynolds is an English music critic who began writing about the UK's electronic music scene for Wire Magazine back in 1992. This month is the magazine's 300th edition and to mark the occasion, the editors have released a 7-part series of Reynolds' work through the years under the title "The Hardcore Continuum" that begins by profiling Hardcore Rave and moves on through Jungle, Drum 'n' Bass and Hard Step to Grime and the Dubstep breaks of the last few years.
The series is remarkable for its immediacy, as a record of a specific time and place in a musical genre that "abolishes narrative" all the while juxtaposed with the more overarching critically theoretical approach with which Reynolds approaches his subject. As he states in the introduction, "It was only in 1999, with the sixth piece ... that I really became conscious that for several years I’d been documenting a continuum of musical culture that emerged out of the British rave scene."
Fascinating stuff. But if the above series leaves you wanting more, check out Reynolds' lecture on the Hardcore Continuum at FACT Liverpool featuring a discussion with Mark 'K-Punk' Fisher.
Simon Reynolds is an English music critic who began writing about the UK's electronic music scene for Wire Magazine back in 1992. This month is the magazine's 300th edition and to mark the occasion, the editors have released a 7-part series of Reynolds' work through the years under the title "The Hardcore Continuum" that begins by profiling Hardcore Rave and moves on through Jungle, Drum 'n' Bass and Hard Step to Grime and the Dubstep breaks of the last few years.
The series is remarkable for its immediacy, as a record of a specific time and place in a musical genre that "abolishes narrative" all the while juxtaposed with the more overarching critically theoretical approach with which Reynolds approaches his subject. As he states in the introduction, "It was only in 1999, with the sixth piece ... that I really became conscious that for several years I’d been documenting a continuum of musical culture that emerged out of the British rave scene."
Fascinating stuff. But if the above series leaves you wanting more, check out Reynolds' lecture on the Hardcore Continuum at FACT Liverpool featuring a discussion with Mark 'K-Punk' Fisher.
Labels: Music, The Hardcore Continuum
Monday, December 08, 2008
The Amen Break
In 1969, soul music group The Winstons released the single "Color Him Father" which would go on to reach number 2 on the R&B charts and number 7 on the Billboard Hot 100 and win them a Grammy Award in 1970 for Best R&B song.
However what is most remarkable about this record comes from the song on the B-side, "Amen, Brother", specifically a six second drum break in the middle of the tune that has since become one of the most heavily sampled drum breaks in the course of electronic music and played a foundational role in the evolution of hip hop, jungle and breakbeat genres.
Nate Harrison provides a brilliant look into what has come to be known as "The Amen Break".
In 1969, soul music group The Winstons released the single "Color Him Father" which would go on to reach number 2 on the R&B charts and number 7 on the Billboard Hot 100 and win them a Grammy Award in 1970 for Best R&B song.
However what is most remarkable about this record comes from the song on the B-side, "Amen, Brother", specifically a six second drum break in the middle of the tune that has since become one of the most heavily sampled drum breaks in the course of electronic music and played a foundational role in the evolution of hip hop, jungle and breakbeat genres.
Nate Harrison provides a brilliant look into what has come to be known as "The Amen Break".
Labels: Music, The Hardcore Continuum, Time and Space
Tuesday, November 18, 2008
"You say its your birthday.."
In Tribute to the Beatle's White Album 40th anniversary, PopMatters is celebrating the milestone with a five day, song-by-song, side-by-LP side breakdown of what Tony Palmer, in The Observer, summed up at the time of its release by stating: "if there is still any doubt that Lennon and McCartney are the greatest songwriters since Schubert, then...[The White Album]...should surely see the last vestiges of cultural snobbery and bourgeois prejudice swept away in a deluge of joyful music making. . . ."
In Tribute to the Beatle's White Album 40th anniversary, PopMatters is celebrating the milestone with a five day, song-by-song, side-by-LP side breakdown of what Tony Palmer, in The Observer, summed up at the time of its release by stating: "if there is still any doubt that Lennon and McCartney are the greatest songwriters since Schubert, then...[The White Album]...should surely see the last vestiges of cultural snobbery and bourgeois prejudice swept away in a deluge of joyful music making. . . ."
Tuesday, August 19, 2008
Beggars to Exiles
Currently showing at the San Francisco Art Exchange is Beggars to Exiles: The Photography of Michael Cooper and Dominique Tarle, that documents the Rolling Stones between 1967 and 1971, a period during which the band singlehandedly defined the archetype of the rock n roll star --the fashion, the drug busts, the groupies, the villa in the south of France -- for all who followed.
Though somewhat of a pain to navigate, the online version of the exhibit is quite comprehensive and includes such insights as:
Brilliant.
Currently showing at the San Francisco Art Exchange is Beggars to Exiles: The Photography of Michael Cooper and Dominique Tarle, that documents the Rolling Stones between 1967 and 1971, a period during which the band singlehandedly defined the archetype of the rock n roll star --the fashion, the drug busts, the groupies, the villa in the south of France -- for all who followed.
Though somewhat of a pain to navigate, the online version of the exhibit is quite comprehensive and includes such insights as:
To record "Exile on Main Street" Keith Richards rented Villa Nellcôte, the "Gestapo headquarters during the Second World War," complete with swastikas on the floor vents. The basic band for these sessions is believed to have consisted of Richards, Bobby Keys, Mick Taylor, Charlie Watts, Jimmy Miller, and Jagger when he was available. Bassist Bill Wyman did not like the ambiance of the Richards' villa and sat out many of the French sessions.
Brilliant.
Labels: Music, Photography, Sixties
Sunday, July 13, 2008
Sunday Evening Tunage
COMPUTER VS BANJO
You can be pretty sure that if you meet someone at a party and they tell you that they are "cool" or claim to be "the funniest person you have ever met", they are certain to not deliver on that promise. Indeed they will no doubt prove to be quite boring and you will find yourself desperately searching for a way to escape from the corner that they have backed you into. Such innate traits never require a lead-in and the genuine article will be so oblivious as to wear them like a second skin. With that said, I offer you "Computer vs. Banjo", a band which, as their name suggests, mixes digital samples with a folksy blues sound.
Give Up On Ghosts
Now, my first thought upon being presented with this concept was that there are a shitload of musicians walking the line between the analog/digital worlds these days and doing it very well (Beck, Tunng, Radiohead?!?) but they don't find it necessary to proclaim it in the title of their band. Computer and Banjo seem almost too aware of the fact that they are taking a folksy genre and adding drum machines beneath it. The whole endeavour immediately comes across as "clever " --a trait that is about as shallow as piss on concrete and for this very reason, the two elements never quite gel, instead it remains in the realm of gimmick.
JOSEPH ARTHUR - VAGABOND SKIES
For the longest time now, I have had a tune in my music library called "A Smile That Explodes" by an artist named Joseph Arthur that I find unbelievably sublime. I did not know where it came from (figured it was caught in some late night tuna net style Acquisition binge) but it repeatedly found a place in my mellower playlists.
A Smile That Explodes
But upon the arrival this afternoon of Arthur's EP Vagabond Skies, I can only assume that this above first taste was courtesy of my good friends at Sneak Attack Media.
Now, this would probably be a good time for me to admit that I have really only been listening to Burial as of late with its minimalist-fried-synapse-twitching-hour vibe and other twisted and strained rhythms of a similar ilk. It all just seems appropriate as I'm weaving through my caffeine-fed urban morning landscape. But Joseph Arthur could single handedly pull me back into the world of melodic instrument and human driven tunes again. Aside from Second Sight (which is strangely out of place on this album and really not all that good) this album recalls Neil Young at his best. Give a listen to what is by far the best track, She Paints Me Gold:
She Paints Me Gold.mp3
COMPUTER VS BANJO
You can be pretty sure that if you meet someone at a party and they tell you that they are "cool" or claim to be "the funniest person you have ever met", they are certain to not deliver on that promise. Indeed they will no doubt prove to be quite boring and you will find yourself desperately searching for a way to escape from the corner that they have backed you into. Such innate traits never require a lead-in and the genuine article will be so oblivious as to wear them like a second skin. With that said, I offer you "Computer vs. Banjo", a band which, as their name suggests, mixes digital samples with a folksy blues sound.
Give Up On Ghosts
Now, my first thought upon being presented with this concept was that there are a shitload of musicians walking the line between the analog/digital worlds these days and doing it very well (Beck, Tunng, Radiohead?!?) but they don't find it necessary to proclaim it in the title of their band. Computer and Banjo seem almost too aware of the fact that they are taking a folksy genre and adding drum machines beneath it. The whole endeavour immediately comes across as "clever " --a trait that is about as shallow as piss on concrete and for this very reason, the two elements never quite gel, instead it remains in the realm of gimmick.
JOSEPH ARTHUR - VAGABOND SKIES
For the longest time now, I have had a tune in my music library called "A Smile That Explodes" by an artist named Joseph Arthur that I find unbelievably sublime. I did not know where it came from (figured it was caught in some late night tuna net style Acquisition binge) but it repeatedly found a place in my mellower playlists.
A Smile That Explodes
But upon the arrival this afternoon of Arthur's EP Vagabond Skies, I can only assume that this above first taste was courtesy of my good friends at Sneak Attack Media.
Now, this would probably be a good time for me to admit that I have really only been listening to Burial as of late with its minimalist-fried-synapse-twitching-hour vibe and other twisted and strained rhythms of a similar ilk. It all just seems appropriate as I'm weaving through my caffeine-fed urban morning landscape. But Joseph Arthur could single handedly pull me back into the world of melodic instrument and human driven tunes again. Aside from Second Sight (which is strangely out of place on this album and really not all that good) this album recalls Neil Young at his best. Give a listen to what is by far the best track, She Paints Me Gold:
She Paints Me Gold.mp3
Labels: Music, The Payola Chronicles
Tuesday, June 10, 2008
The Politics of Punk
"I thought punk would fade like disco, and with any luck, be replaced with a musical movement led by artists who could actually play their instruments. But in the ambulance, the maniacal vibrato and caustic quips of Dead Kennedys lead singer Jello Biafra had me gaping.Forever etched in my brain are his Tourettes-like rants about the perils of chemical warfare and the unmitigated cruelty of Cambodian dictator Pol Pot, dueling with the wailing siren as my buddy and I wove through rush-hour traffic."
–Patrick Ambrose writes "Jello Biafra and the Politics of Punk" at The Morning News
–Patrick Ambrose writes "Jello Biafra and the Politics of Punk" at The Morning News
Labels: American Hardcore, Music
Monday, May 12, 2008
Swedes Invade the Red Room
Sweeping in on the coattails of whistling pop sensation Peter, Bjorn & John and rockers the Hives amidst what is being declared a Swedish invasion (or is it a Scandanavian invasion: there were 42 acts from the region at SXSW this year; 11 of which were Swedish), two acts from the land of beautiful people and generous social welfare touch down at the Red Room this Wednesday night.
First up, 22 year old music-blog darling Lykke Li whose lilty tunes and airy vocals are produced by the Bjorn of prior-mentioned PB&J into unabashedly catchy pop creations. The big push online right now is for Dance Dance Dance but I am groovin more on the diskJokke remix of Everybody but Me from over at Recrdlbl.
The second act, El Perro Del Mar, I am less familiar with. The one piece of trivia that I dug up was that TV on the Radio invited her to open for them in Spain last summer which seems like an odd pairing. But I trust their taste. Take the easy pop tracks of Lykke Li above and let them mature for a few years like a fine wine and you would have something sounding somewhat like El Perro. The lovely collection of songs on her new album, From the Valley to the Stars includes this one, Glory to the World.
Should be a good show. Be sure to look up my review later in the week.
Sweeping in on the coattails of whistling pop sensation Peter, Bjorn & John and rockers the Hives amidst what is being declared a Swedish invasion (or is it a Scandanavian invasion: there were 42 acts from the region at SXSW this year; 11 of which were Swedish), two acts from the land of beautiful people and generous social welfare touch down at the Red Room this Wednesday night.
First up, 22 year old music-blog darling Lykke Li whose lilty tunes and airy vocals are produced by the Bjorn of prior-mentioned PB&J into unabashedly catchy pop creations. The big push online right now is for Dance Dance Dance but I am groovin more on the diskJokke remix of Everybody but Me from over at Recrdlbl.
The second act, El Perro Del Mar, I am less familiar with. The one piece of trivia that I dug up was that TV on the Radio invited her to open for them in Spain last summer which seems like an odd pairing. But I trust their taste. Take the easy pop tracks of Lykke Li above and let them mature for a few years like a fine wine and you would have something sounding somewhat like El Perro. The lovely collection of songs on her new album, From the Valley to the Stars includes this one, Glory to the World.
Should be a good show. Be sure to look up my review later in the week.
Labels: Music, The Payola Chronicles
Wednesday, May 07, 2008
iTunes by the Numbers
Found this cool meme on Sean Klassen's blog and thought I would apply it to my own bloated iTunes collection:
Total Length:
» 16307 items, 50.7 days, 87.24GB
First and Last Songs (by title):
» A-Tisket A-Tasket by Chick Webb v/Ella Fitzgerald
» (|||) by DJ Ey3
Shortest and Longest Songs:
» "The End" by Maceo Parker, 0:04
» "Dj-Set 23.06.07" by Justice at PinkPonyParty, 2:00:54
First and Last Albums (by title):
» "Abbey Road" by The Beatles
» "Writer's Block" by Peter, Bjorn & John
First and Last Artist (by title):
» A.C. Newman
» !!!
Top Five Most Played Songs:
» "Manifesto" by Gonzales
» "Concerning The UFO Sighting Near Highland, Illinois" by Sufjan Stevens
» "Winters Love" by Animal Collective
» "Andy Warhol" by David Bowie
» "Southern Anthem" by Iron and Wine
Search for the following words. How many songs show up?:
» Sex: 96
» Death: 78
» Love: 815
» You: 1588
» Home: 145
» Boy: 411
» Girl: 167
First five songs that come up on Party Shuffle:
» "Speakeasy" by Swayzak
» "The Gal from Joe's" Duke Ellington & His Famous Orchestra
» "Johnny B. Goode" by the Sex Pistols
» "Wagon Christ / Spotlight" by Aphex Twin
» "Death or Glory" by the Clash
What's on your playlist?
Found this cool meme on Sean Klassen's blog and thought I would apply it to my own bloated iTunes collection:
Total Length:
» 16307 items, 50.7 days, 87.24GB
First and Last Songs (by title):
» A-Tisket A-Tasket by Chick Webb v/Ella Fitzgerald
» (|||) by DJ Ey3
Shortest and Longest Songs:
» "The End" by Maceo Parker, 0:04
» "Dj-Set 23.06.07" by Justice at PinkPonyParty, 2:00:54
First and Last Albums (by title):
» "Abbey Road" by The Beatles
» "Writer's Block" by Peter, Bjorn & John
First and Last Artist (by title):
» A.C. Newman
» !!!
Top Five Most Played Songs:
» "Manifesto" by Gonzales
» "Concerning The UFO Sighting Near Highland, Illinois" by Sufjan Stevens
» "Winters Love" by Animal Collective
» "Andy Warhol" by David Bowie
» "Southern Anthem" by Iron and Wine
Search for the following words. How many songs show up?:
» Sex: 96
» Death: 78
» Love: 815
» You: 1588
» Home: 145
» Boy: 411
» Girl: 167
First five songs that come up on Party Shuffle:
» "Speakeasy" by Swayzak
» "The Gal from Joe's" Duke Ellington & His Famous Orchestra
» "Johnny B. Goode" by the Sex Pistols
» "Wagon Christ / Spotlight" by Aphex Twin
» "Death or Glory" by the Clash
What's on your playlist?
Labels: Music
Friday, May 02, 2008
Black Kids and Cut Copy at Richard's on Richards
There is a black guy in the men's washroom of Richard's on Richards dispensing soap and hand towels. He also has an assortment of colognes and prophylactics available for purchase. His outfit suggests that of a hipster bellhop.
I should point out that the men's facilities at Richard's on Richards are not large. There were perhaps eight others taking care of business in there at the same time as me and we were choked for space. Nor are we talking about a grand country club restroom with marble walls and golden chalices in which to urinate. This is a good and dirty rock n' roll WC with key-scratched obscenities on the cubicles and grime in the tiles. Our poor bellhop would be privy to a whole *ahem* shitload of industry fallout over the course of an evening.
I should also point out that the year is 2008, not 1925.
Whatever the case, I had flown in on the red eye from Hawaii the night before and barely stumbled through my first day back at work. And here was an email from HQ in Brooklyn offering guest list status for a concert that had been sold out for weeks and figured prominently in the status of every Vancouver hipster's Facebook page. And so there I was at the Black Kids and Cut Copy show, bleary and delirious and struck by the surreal nature of a black guy dispensing soap and hand towels in the men's washroom of Richard's on Richards.
The show itself was, as expected, quite brilliant. And since I've already used up my word count on complete irrelevance, I will let the YouTube coverage tell the rest of the story:
Footage of the Black Kids from mowchar.
And some rather shaky coverage of Cut Copy by chasingphantoms.
There is a black guy in the men's washroom of Richard's on Richards dispensing soap and hand towels. He also has an assortment of colognes and prophylactics available for purchase. His outfit suggests that of a hipster bellhop.
I should point out that the men's facilities at Richard's on Richards are not large. There were perhaps eight others taking care of business in there at the same time as me and we were choked for space. Nor are we talking about a grand country club restroom with marble walls and golden chalices in which to urinate. This is a good and dirty rock n' roll WC with key-scratched obscenities on the cubicles and grime in the tiles. Our poor bellhop would be privy to a whole *ahem* shitload of industry fallout over the course of an evening.
I should also point out that the year is 2008, not 1925.
Whatever the case, I had flown in on the red eye from Hawaii the night before and barely stumbled through my first day back at work. And here was an email from HQ in Brooklyn offering guest list status for a concert that had been sold out for weeks and figured prominently in the status of every Vancouver hipster's Facebook page. And so there I was at the Black Kids and Cut Copy show, bleary and delirious and struck by the surreal nature of a black guy dispensing soap and hand towels in the men's washroom of Richard's on Richards.
The show itself was, as expected, quite brilliant. And since I've already used up my word count on complete irrelevance, I will let the YouTube coverage tell the rest of the story:
Footage of the Black Kids from mowchar.
And some rather shaky coverage of Cut Copy by chasingphantoms.
Labels: Music, The Payola Chronicles
Thursday, April 03, 2008
Thursday Tunage
THE LOVELY SPARROWS – DEPARTMENT OF FORSEEABLE OUTCOMES
Department of Forseeable Outcomes seems like the perfect song for the last scene of an HBO pilot: A son finds out that his parents are bank robbers when he accidentally blows up his dad's car while trying to make meth in the back seat and the money from their last heist that was hidden in the trunk now rains down on him. He stands in the middle of the street with his arms stretched up to heaven laughing at the irony of it all.
Camera pulls up directly above him.
Fade to credits..
ANNUALS – SORE
Alright now, pay attention: this tune Sore is from Annuals' recently released "Wet Zoo". It is one of three tracks by Annuals on the EP; the other two are by a band called Sunfold which is the members of Annuals only with guitarist Kenny Florence driving the bus instead of Adam Baker. Check out Sunfold's mySpace page and decide for yourself whether or not the two sounds are unique enough to warrant the confusion.
LANGHORNE SLIM – THE REBEL SIDE OF HEAVEN
"We ain't goin' to hell/We're goin' to the rebel side of heaven"
I am still waiting for the lab to get back to me with the results on what is in the Brooklyn water that is producing such consistent musical talent. Langhorne Slim is yet another fresh driving sound to emerge from the burrough. It is great to hear soulful rootsy music like this. His voice reminds me of Maroon 5 only without the disco beats..and not crappy.
More on his mySpace page.
THE LOVELY SPARROWS – DEPARTMENT OF FORSEEABLE OUTCOMES
Department of Forseeable Outcomes seems like the perfect song for the last scene of an HBO pilot: A son finds out that his parents are bank robbers when he accidentally blows up his dad's car while trying to make meth in the back seat and the money from their last heist that was hidden in the trunk now rains down on him. He stands in the middle of the street with his arms stretched up to heaven laughing at the irony of it all.
Camera pulls up directly above him.
Fade to credits..
ANNUALS – SORE
Alright now, pay attention: this tune Sore is from Annuals' recently released "Wet Zoo". It is one of three tracks by Annuals on the EP; the other two are by a band called Sunfold which is the members of Annuals only with guitarist Kenny Florence driving the bus instead of Adam Baker. Check out Sunfold's mySpace page and decide for yourself whether or not the two sounds are unique enough to warrant the confusion.
LANGHORNE SLIM – THE REBEL SIDE OF HEAVEN
"We ain't goin' to hell/We're goin' to the rebel side of heaven"
I am still waiting for the lab to get back to me with the results on what is in the Brooklyn water that is producing such consistent musical talent. Langhorne Slim is yet another fresh driving sound to emerge from the burrough. It is great to hear soulful rootsy music like this. His voice reminds me of Maroon 5 only without the disco beats..and not crappy.
More on his mySpace page.
Labels: Music, The Payola Chronicles
Thursday, March 27, 2008
Tales from the Blitz
For those of us out there tonight who are not at the Bowie Glam Bash at Celebrities, check out this great documentary about the New Romantics/Blitz Kids scene of the early 80's, A Fine Romance on YouTube in 11 parts.
For those of us out there tonight who are not at the Bowie Glam Bash at Celebrities, check out this great documentary about the New Romantics/Blitz Kids scene of the early 80's, A Fine Romance on YouTube in 11 parts.
Labels: London, Music, YouTube
Wednesday, February 20, 2008
It must be in the air here..
Got an email from Sneak Attack today asking me how I liked the Say Hi show which, I am assuming, is a polite way of saying "are you ever going to post something on that concert that we got you free tickets to?" Which is a fair enough question. Allow four days to pass by in the blogosphere and you might as well forget it; everyone has moved on to the next great fleeting moment. Hell, the fact that I was not posting photos, video and Twitter setlists while at the show itself would suggest that we are now discussing things long since past. But the truth is I have been damn busy since Saturday night and only now find myself with a chance to bash something out, if it evens matters anymore..
We arrive at the gig at around 11pm, the club's backlit sign glowing like a beacon for the young hip party set on a stretch of street whose typical clientèle generally prefer to reside in the shadows. It would be fair to assume, given the small closed off rooms that line the hallway to the toilets, that The Royal Unicorn Cabaret was no doubt once a Chiness brothel. These days it has become the homebase of Salbourg, who seem to be charged with promoting the current dance revival here in Vancouver. And doing a fine job of it from what I can tell. Glancing around the club I can't tell how many people are there to see Say Hi and how many are waiting for the more electronic side of the evening to kick in.
The gig gets off to a sketchy start. The whole setup seems to be put together with the structure of a house of cards. Feedback bleeds out of the speakers throughout the opening songs prompting a mad scrambling and impromptu re-assessment on the wiring. Technical difficulties aside, Say Hi's set is decent. The drums and guitar drive the tunes with a 4/4 trancelike rhythm that surprisingly suggests shoegazer bands of yore. But his vocals don't quite make the cut. In the chorus for "Northern Girls" --the modern day equivalent of a first single-- he fails to hit the high note and ultimately it is that note that truly makes the song. But from what I can tell from his website, this tour is still fairly fresh (Vancouver possibly even being the kickoff show) so he has many nights ahead of him to tighten the gears. No doubt he will be in fine form by the time he passes through a city near you.
Got an email from Sneak Attack today asking me how I liked the Say Hi show which, I am assuming, is a polite way of saying "are you ever going to post something on that concert that we got you free tickets to?" Which is a fair enough question. Allow four days to pass by in the blogosphere and you might as well forget it; everyone has moved on to the next great fleeting moment. Hell, the fact that I was not posting photos, video and Twitter setlists while at the show itself would suggest that we are now discussing things long since past. But the truth is I have been damn busy since Saturday night and only now find myself with a chance to bash something out, if it evens matters anymore..
We arrive at the gig at around 11pm, the club's backlit sign glowing like a beacon for the young hip party set on a stretch of street whose typical clientèle generally prefer to reside in the shadows. It would be fair to assume, given the small closed off rooms that line the hallway to the toilets, that The Royal Unicorn Cabaret was no doubt once a Chiness brothel. These days it has become the homebase of Salbourg, who seem to be charged with promoting the current dance revival here in Vancouver. And doing a fine job of it from what I can tell. Glancing around the club I can't tell how many people are there to see Say Hi and how many are waiting for the more electronic side of the evening to kick in.
The gig gets off to a sketchy start. The whole setup seems to be put together with the structure of a house of cards. Feedback bleeds out of the speakers throughout the opening songs prompting a mad scrambling and impromptu re-assessment on the wiring. Technical difficulties aside, Say Hi's set is decent. The drums and guitar drive the tunes with a 4/4 trancelike rhythm that surprisingly suggests shoegazer bands of yore. But his vocals don't quite make the cut. In the chorus for "Northern Girls" --the modern day equivalent of a first single-- he fails to hit the high note and ultimately it is that note that truly makes the song. But from what I can tell from his website, this tour is still fairly fresh (Vancouver possibly even being the kickoff show) so he has many nights ahead of him to tighten the gears. No doubt he will be in fine form by the time he passes through a city near you.
Labels: Music, The Payola Chronicles
Thursday, January 24, 2008
Friday Tunage
THE EPOCHS - OPPOSITE SIDES
Another great band out of Brooklyn, The Epochs are making music that sounds like what Justin Timberlake would be doing if he had skipped his Mickey Mouse Club and Boy Band origins and simply focussed on creating catchy falsetto driven pop songs. Opposite Sides is a gorgeous, rambling track that seems to head out in five different rhythmic and thematic directions over the course of its 4 minute span, jumping between fuzz box dance beats, quiet psychedelic digressions and sweet ethereal harmonies.
More from them can be heard on their MySpace site.
SAY HI - NORTHWESTERN GIRLS
Say Hi is going to be at the The Royal Unicorn Cabaret on February 16, and from what I have heard of them so far, it is going to be well worth checking out. Northwestern Girls starts with a Coldplay-on-Casios riff and simple premise ("Northwestern girls, with their fresh faces. Don't mess it up this time. They seem so nice. It must be in the air here") and then builds layer upon layer of analog and digital tracks to a worthy climax. Definitely check out the website for additional tracks not to mention its quirky D&D stylings.
LOUIS XIV - GUILT BY ASSOCIATION
Che Guevara observed that "Cruel leaders are replaced only to have new leaders turn cruel". Pitchfork Media, the one time online underdog of indie music has in the course of just a few short years risen to the top of the pile, toppling the old guard publications like Billboard and Rolling Stone to become the new king-maker. Which means that it sucks when they hate you. And Pitchfork Media hates Louis XIV. Their main criticism of the band seems to be that their lyrics are too lewd and they are doing nothing that the Stones, AC/DC and The Strokes have already done a hundred times over. Apparently rock n roll is not just about sex and drugs anymore. It all seems a little harsh in my opinion. Take a listen to Guilt by Association and let me know what you think. You can also catch them on tour with Hot Hot Heat and the Editors. They'll be at the Commodore on Feb 5.
THE EPOCHS - OPPOSITE SIDES
Another great band out of Brooklyn, The Epochs are making music that sounds like what Justin Timberlake would be doing if he had skipped his Mickey Mouse Club and Boy Band origins and simply focussed on creating catchy falsetto driven pop songs. Opposite Sides is a gorgeous, rambling track that seems to head out in five different rhythmic and thematic directions over the course of its 4 minute span, jumping between fuzz box dance beats, quiet psychedelic digressions and sweet ethereal harmonies.
More from them can be heard on their MySpace site.
SAY HI - NORTHWESTERN GIRLS
Say Hi is going to be at the The Royal Unicorn Cabaret on February 16, and from what I have heard of them so far, it is going to be well worth checking out. Northwestern Girls starts with a Coldplay-on-Casios riff and simple premise ("Northwestern girls, with their fresh faces. Don't mess it up this time. They seem so nice. It must be in the air here") and then builds layer upon layer of analog and digital tracks to a worthy climax. Definitely check out the website for additional tracks not to mention its quirky D&D stylings.
LOUIS XIV - GUILT BY ASSOCIATION
Che Guevara observed that "Cruel leaders are replaced only to have new leaders turn cruel". Pitchfork Media, the one time online underdog of indie music has in the course of just a few short years risen to the top of the pile, toppling the old guard publications like Billboard and Rolling Stone to become the new king-maker. Which means that it sucks when they hate you. And Pitchfork Media hates Louis XIV. Their main criticism of the band seems to be that their lyrics are too lewd and they are doing nothing that the Stones, AC/DC and The Strokes have already done a hundred times over. Apparently rock n roll is not just about sex and drugs anymore. It all seems a little harsh in my opinion. Take a listen to Guilt by Association and let me know what you think. You can also catch them on tour with Hot Hot Heat and the Editors. They'll be at the Commodore on Feb 5.
Labels: Music, The Payola Chronicles
Monday, January 14, 2008
Thoughts Are Like Bullets
The video for "Alice", the first release from Moby's forthcoming album 'Last Night', is directed by Andreas Nilsson, whose seemingly prolific, eclectic and often disturbing oeuvre includes work with The Knife, Soundtrack of Our Lives and Love is All.
The video for "Alice", the first release from Moby's forthcoming album 'Last Night', is directed by Andreas Nilsson, whose seemingly prolific, eclectic and often disturbing oeuvre includes work with The Knife, Soundtrack of Our Lives and Love is All.
Wednesday, January 09, 2008
Stranger by Sunny Day Sets Fire
Strains of psychedelic pop goodness ooze out from the seams of this ditty called "Stranger" by UK band Sunny Day Sets Fire. A Remix EP that includes collaborations with CSS, Diplo and Baron Von Luxxury (the latter's take on the track "Brainless" is well good) is due out on Feb 26th with a full length to follow in the spring. In the meantime, more tunes can be found on their site and mySpace page.
Strains of psychedelic pop goodness ooze out from the seams of this ditty called "Stranger" by UK band Sunny Day Sets Fire. A Remix EP that includes collaborations with CSS, Diplo and Baron Von Luxxury (the latter's take on the track "Brainless" is well good) is due out on Feb 26th with a full length to follow in the spring. In the meantime, more tunes can be found on their site and mySpace page.
Labels: Music, The Payola Chronicles
Wednesday, January 02, 2008
Wolf Like Me (alt-country take)
My latest home recording: a cover of TV on the Radio's "Wolf Like Me" complete with southern drawl and country twang.
More personal musical sojourns may be found here.
My latest home recording: a cover of TV on the Radio's "Wolf Like Me" complete with southern drawl and country twang.
More personal musical sojourns may be found here.
Labels: Music, Shameless Self Promotion
Tuesday, December 25, 2007
When all our dreams come true
Tuesday, October 30, 2007
"Writing about music is like dancing about architecture"
The quote that is tonight's title is normally attributed to Elvis Costello (although it is typically followed by a parenthesized note giving possible credit to Frank Zappa). The lack of certainty on this point seems ironic in its own right. But when you've got your headphones on and you sit down with the sole purpose of writing about the music that injects itself into your ear, this phrase becomes the bitter pill that you must swallow before proceeding to fill the page with similes that liken music to a cherry blossom sky or a razor blade smile. It is true that writing will never succeed in capturing what you are experiencing. Even the best music writers, those who through their turns of phrase actually conjure up cadence and sweet imagined melodies never manage to play me the actual tunes before I have heard them for myself.
So it is a lost cause, but one that we will all continue to pursue in the name of rock n roll. Because sometimes, you get close -- you find that one hammer of a phrase that seems to nail it indisputably. And suddenly, dancing about architecture makes perfect sense.
And with that, here are tonight's offerings:
Annuals - Frelan Mas
"There's a garden outside of my door.." is how this song begins, with birds chirping and children playing and when it kicks in you suddenly find yourself there with the band playing hopscotch and twirling around the barnyard in some lush lilthium-induced stupor. Beautiful music that you don't want to end.
Annuals are currently on tour with Manchester Orchestra and will be arriving in Vancouver on November 11th at the Plaza. Other listings can be found here.
Manchester Orchestra - Brother
Annuals - Where Have You Been
As well as touring together, the two bands have released a Split 7" EP on which each band performs cover versions of the other's songs. Brother and Where Have You Been, posted above, are samples of what has come out of this collaboration. Each band approaches the other's material very differently with Manchester Orchestra sticking to a pop driven acoustic take while Annuals layer together a more electronic interpretation. AND, for those of you out there with mad mixing skills, Purevolume.com is hosting the official MANNUALS MASHUP CONTEST and awarding an Epiphone guitar, merch and music to the best mashup of the two bands' tunes.
Drones - Shark Fin Blues
There is something timeless in the sound that the Drones have going on here. With a voice that seems to barely hang on throughout the song -- hell the entire band threatens to tear apart at the seams -- the Melbourne group always manages to keep it together creating music that is immediate and raw; qualities that are rarely heard in these more polished and sterile times.
So it is a lost cause, but one that we will all continue to pursue in the name of rock n roll. Because sometimes, you get close -- you find that one hammer of a phrase that seems to nail it indisputably. And suddenly, dancing about architecture makes perfect sense.
And with that, here are tonight's offerings:
Annuals - Frelan Mas
"There's a garden outside of my door.." is how this song begins, with birds chirping and children playing and when it kicks in you suddenly find yourself there with the band playing hopscotch and twirling around the barnyard in some lush lilthium-induced stupor. Beautiful music that you don't want to end.
Annuals are currently on tour with Manchester Orchestra and will be arriving in Vancouver on November 11th at the Plaza. Other listings can be found here.
Manchester Orchestra - Brother
Annuals - Where Have You Been
As well as touring together, the two bands have released a Split 7" EP on which each band performs cover versions of the other's songs. Brother and Where Have You Been, posted above, are samples of what has come out of this collaboration. Each band approaches the other's material very differently with Manchester Orchestra sticking to a pop driven acoustic take while Annuals layer together a more electronic interpretation. AND, for those of you out there with mad mixing skills, Purevolume.com is hosting the official MANNUALS MASHUP CONTEST and awarding an Epiphone guitar, merch and music to the best mashup of the two bands' tunes.
Drones - Shark Fin Blues
There is something timeless in the sound that the Drones have going on here. With a voice that seems to barely hang on throughout the song -- hell the entire band threatens to tear apart at the seams -- the Melbourne group always manages to keep it together creating music that is immediate and raw; qualities that are rarely heard in these more polished and sterile times.
Labels: Music, The Payola Chronicles
Experts predict website posts may slow down considerably after purchase of new toy
Tuesday, October 16, 2007
Keep Your Eyes Open
Glen E. Friedman got his start in photography shooting images of the legendary Z-boys skating backyard pools. From there he would go on to take some of the most definitive portraits of early hip hop and hardcore punk pioneers including the Beastie Boys, RunDMC and Black Flag and as a result is considered to be one of the most important photographers of his generation.
Just released this past month, Friedman's new book, Keep Your Eyes Open, chronicles his pictorial relationship with the band Fugazi, possibly one of the most important bands to have ever entered this writer's eardrums.
Says the website:
"KEEP YOUR EYES OPEN: The Fugazi Photographs of Glen E. Friedman was released by Burning Flags Press exactly 20 years [after Fugazi's first concert on September 3, 1987]. The 112-page, 9 x11 hardcover book presents the best of Friedman's unparalleled photographic documentation of Fugazi's members in almost 200 color and black & white images captured by Friedman onstage and off between 1986 and Fugazi's last U.S. concert in 2002. As Fugazi's Ian MacKaye explains, 'While most photographers were taking photos of Fugazi, Glen was making photos with us.'"
As a final note, while surfing the web on this topic, I also came across this footage of Fugazi performing Turnover outside of the White House in 1991 at a protest against the first Gulf War. Incredible.
Glen E. Friedman got his start in photography shooting images of the legendary Z-boys skating backyard pools. From there he would go on to take some of the most definitive portraits of early hip hop and hardcore punk pioneers including the Beastie Boys, RunDMC and Black Flag and as a result is considered to be one of the most important photographers of his generation.
Just released this past month, Friedman's new book, Keep Your Eyes Open, chronicles his pictorial relationship with the band Fugazi, possibly one of the most important bands to have ever entered this writer's eardrums.
Says the website:
"KEEP YOUR EYES OPEN: The Fugazi Photographs of Glen E. Friedman was released by Burning Flags Press exactly 20 years [after Fugazi's first concert on September 3, 1987]. The 112-page, 9 x11 hardcover book presents the best of Friedman's unparalleled photographic documentation of Fugazi's members in almost 200 color and black & white images captured by Friedman onstage and off between 1986 and Fugazi's last U.S. concert in 2002. As Fugazi's Ian MacKaye explains, 'While most photographers were taking photos of Fugazi, Glen was making photos with us.'"
As a final note, while surfing the web on this topic, I also came across this footage of Fugazi performing Turnover outside of the White House in 1991 at a protest against the first Gulf War. Incredible.
Labels: American Hardcore, Music, Photography
Friday, October 12, 2007
Friday Tunage
Life has been somewhat chaotic as of late with the wife in Uganda and myself hitting the ground running at a new job. Meanwhile, the mp3's have been piling up in my inBox like a February snowdrift. So it is time to do a little cleaning house. Which is easy when the music is as it is: all over the spectrum and all bloody good. Perfect for a Friday post.
Robber's On High Street: Crown Victoria
These guys immediately reminded me of Spoon, which is never a bad thing. Just good rock really, with a perfect combination of retro 60s and 70s AM radio and a cool fresh feel. This track is off of their second album Grand Animals on which the band worked with Italian film composer Daniele Luppi, (Danger Mouse, John Legend) and the album was mixed by Jeff Lipton (Beach Boys).
The Forms: Knowledge in Hand
There has got to be something in the Brooklyn water that is producing such great sounds from bands like The Forms. Their self titled 2nd album is currently only available on pre-order from iTunes so in the meantime, enjoy this lead off track and if you dig what you hear, check out Stereogum's brilliant tribute album to R.E.M's Automatic for the People for which The Forms contributed Ignoreland.
Innerpartysystem: Don't Stop
I will admit that the vocals on this tune didn't immediately do much for me. But the backing track is killer and every listen is bringing me a little closer to jumping up and disco moshing with the living room furniture. The album, The Download EP is available on iTunes but even better, check out their website.
Nicole Atkins: Party's Over
Love the groove on this track. Makes me want to just drop everything and drive headlong into the mountains. A little Stevie Nicks perhaps? A little Roxy Music? There is definitely something in the guitar sound that is taking me back a bit but I can't quite place it. Either way, I look forward to hearing more from her.
Puscifer: Queen B
Probably the strangest of today's offerings, this track by Puscifer is off of the album "V is for Vagina" which apparently is cumming soon ... I probably don't need to say much more about that. Puscifer is a side project of Maynard James Keenan of the band Tool. Keenan describes it as "a playground for the various voices in my head," "a space with no clear or discernible goals," and "where my Id, Ego, and Anima all come together to exchange cookie recipes." Check out their youTube page for a better, if not a little disturbing, sense of what this is all about.
Robber's On High Street: Crown Victoria
These guys immediately reminded me of Spoon, which is never a bad thing. Just good rock really, with a perfect combination of retro 60s and 70s AM radio and a cool fresh feel. This track is off of their second album Grand Animals on which the band worked with Italian film composer Daniele Luppi, (Danger Mouse, John Legend) and the album was mixed by Jeff Lipton (Beach Boys).
The Forms: Knowledge in Hand
There has got to be something in the Brooklyn water that is producing such great sounds from bands like The Forms. Their self titled 2nd album is currently only available on pre-order from iTunes so in the meantime, enjoy this lead off track and if you dig what you hear, check out Stereogum's brilliant tribute album to R.E.M's Automatic for the People for which The Forms contributed Ignoreland.
Innerpartysystem: Don't Stop
I will admit that the vocals on this tune didn't immediately do much for me. But the backing track is killer and every listen is bringing me a little closer to jumping up and disco moshing with the living room furniture. The album, The Download EP is available on iTunes but even better, check out their website.
Nicole Atkins: Party's Over
Love the groove on this track. Makes me want to just drop everything and drive headlong into the mountains. A little Stevie Nicks perhaps? A little Roxy Music? There is definitely something in the guitar sound that is taking me back a bit but I can't quite place it. Either way, I look forward to hearing more from her.
Puscifer: Queen B
Probably the strangest of today's offerings, this track by Puscifer is off of the album "V is for Vagina" which apparently is cumming soon ... I probably don't need to say much more about that. Puscifer is a side project of Maynard James Keenan of the band Tool. Keenan describes it as "a playground for the various voices in my head," "a space with no clear or discernible goals," and "where my Id, Ego, and Anima all come together to exchange cookie recipes." Check out their youTube page for a better, if not a little disturbing, sense of what this is all about.
Labels: Music, The Payola Chronicles
Monday, October 08, 2007
Dylan is not there
In a recent interview with indieWire, director Todd Haynes states that the notion of a fixed personal identity is a lie; that "it is something that we are always working on and abridging and using outside influences to keep changing." No where is this theory better exemplified than in his new movie, I'm Not There, in which his subject, Bob Dylan is played by six different actors including Cate Blanchett and 13-year-old African-American actor, Marcus Carl Franklin. Ultimately, the movie becomes as much a study of identity for the filmmaker himself -- of all of us for that matter -- as it is of one of America's greatest songwriters. As Robert Sullivan writes in his cover article in yesterday's New York Times' Magazine:
"Todd Haynes’s Dylan film isn’t about Dylan. That’s what’s going to be so difficult for people to understand. That’s what’s going to make “I’m Not There” so trying for the really diehard Dylanists. That’s what might upset the non-Dylanists, who may find it hard to figure out why he bothered to make it at all. And that’s why it took Haynes so long to get it made. Haynes was trying to make a Dylan film that is, instead, what Dylan is all about, as he sees it, which is changing, transforming, killing off one Dylan and moving to the next, shedding his artistic skin to stay alive."
More from Haynes on the making of "I'm Not There" can be found here and here and here.
In a recent interview with indieWire, director Todd Haynes states that the notion of a fixed personal identity is a lie; that "it is something that we are always working on and abridging and using outside influences to keep changing." No where is this theory better exemplified than in his new movie, I'm Not There, in which his subject, Bob Dylan is played by six different actors including Cate Blanchett and 13-year-old African-American actor, Marcus Carl Franklin. Ultimately, the movie becomes as much a study of identity for the filmmaker himself -- of all of us for that matter -- as it is of one of America's greatest songwriters. As Robert Sullivan writes in his cover article in yesterday's New York Times' Magazine:
"Todd Haynes’s Dylan film isn’t about Dylan. That’s what’s going to be so difficult for people to understand. That’s what’s going to make “I’m Not There” so trying for the really diehard Dylanists. That’s what might upset the non-Dylanists, who may find it hard to figure out why he bothered to make it at all. And that’s why it took Haynes so long to get it made. Haynes was trying to make a Dylan film that is, instead, what Dylan is all about, as he sees it, which is changing, transforming, killing off one Dylan and moving to the next, shedding his artistic skin to stay alive."
More from Haynes on the making of "I'm Not There" can be found here and here and here.
Labels: Auteurs on YouTube, Film, Music, NY Times
Monday, September 24, 2007
First Child Demo Release
Probably the only venue that my musical efforts are worthy of entertaining at this point, this weekend saw the exclusive Facebook premiere of the long time coming 5 track demo of First Child: Looping Through the Array. If you are on the Book, then please feel free to join the group. Otherwise, you can download the tracks here:
A Love This Strong (intro)
Unleashed
Collide
The Autumn Days of Disco
Julia Sets
Probably the only venue that my musical efforts are worthy of entertaining at this point, this weekend saw the exclusive Facebook premiere of the long time coming 5 track demo of First Child: Looping Through the Array. If you are on the Book, then please feel free to join the group. Otherwise, you can download the tracks here:
A Love This Strong (intro)
Unleashed
Collide
The Autumn Days of Disco
Julia Sets
Labels: Music, Shameless Self Promotion
Thursday, September 13, 2007
Heima
One of the most beautiful pieces of film I have seen since...well, probably the last video I saw by Sigur Ros... check out this trailer for Heima, a documentary that follows the band as they play various gigs throughout their home country of Iceland.
One of the most beautiful pieces of film I have seen since...well, probably the last video I saw by Sigur Ros... check out this trailer for Heima, a documentary that follows the band as they play various gigs throughout their home country of Iceland.
Sunday, September 09, 2007
But will they ever come to Vancouver?
A bit last minute -- the result of disappearing for a week in a half into cottage country-- but Dawn Landes, who was featured here a few months back with her bluegrass take on Peter, Bjorn and John's Young Folks, is just wrapping up a week-long tour with one of my current favourite bands, Midlake, so if you have an opportunity to get out to see them, it is sure to be a really great show.
Sept 9 – Paradise Rock Club – Boston, MA
Sept 11 – Grog Shop – Cleveland, OH
Sept 12 – Metro – Chicago, IL
For the rest of us, here is the most recent offering from Dawn, off of her self-released album, Dawn's Music:
Dawn Landes: Suspicion
And something from Midlake:
The Videos of Van Occupanther
A bit last minute -- the result of disappearing for a week in a half into cottage country-- but Dawn Landes, who was featured here a few months back with her bluegrass take on Peter, Bjorn and John's Young Folks, is just wrapping up a week-long tour with one of my current favourite bands, Midlake, so if you have an opportunity to get out to see them, it is sure to be a really great show.
Sept 9 – Paradise Rock Club – Boston, MA
Sept 11 – Grog Shop – Cleveland, OH
Sept 12 – Metro – Chicago, IL
For the rest of us, here is the most recent offering from Dawn, off of her self-released album, Dawn's Music:
Dawn Landes: Suspicion
And something from Midlake:
The Videos of Van Occupanther
Labels: Music, The Payola Chronicles
Tuesday, August 14, 2007
Tunes For A Tuesday Morning
Wednesday, August 08, 2007
Calvin Harris Created Disco
It is not often that you receive a CD in the mail on a Monday morning and after playing the first 3 tracks you suddenly have everyone at the studio fully shaken of their weekend slumbers and demanding to know what the hell they are listening to. But this was exactly the effect that Calvin Harris' "I Created Disco" had this past week. I dare say...the place was going off.
With the official US release of the album not until Sept. 4th (seems you can already buy it in Canada), I am not actually supposed to be saying much more at this time other than "expect big things" and then directing you to the pre-approved online "leaks":
"Acceptable in the 80's"
Ironically -- this just in from HQ -- Calvin Harris seems to be doing a heck of a job on his own getting his name out there. Already huge in the UK with a sold out headlining tour and successful performances at all the big summer festivals, the 23 year old Scot has created quite the stir in the mainstream media as of late by announcing that as a promotion for his new track Merrymaking At My Place he wants to set a new world record for the most house parties happening simultaneously across the country.
Ah yes, nothing sends the kids running to the iStore faster than their parents screaming 'bloody murder'. The National BBC news ran the story and both national broadsheets ‘The Times’ and ‘The Telegraph’ have run substantial articles on the contest — the story even made the front page of ABC news online in the US.
As a result of all of this hoopla, Calvin was asked to issue a guide on how to party responsibly. Now that should just about fix everything...
It is not often that you receive a CD in the mail on a Monday morning and after playing the first 3 tracks you suddenly have everyone at the studio fully shaken of their weekend slumbers and demanding to know what the hell they are listening to. But this was exactly the effect that Calvin Harris' "I Created Disco" had this past week. I dare say...the place was going off.
With the official US release of the album not until Sept. 4th (seems you can already buy it in Canada), I am not actually supposed to be saying much more at this time other than "expect big things" and then directing you to the pre-approved online "leaks":
"Acceptable in the 80's"
Ironically -- this just in from HQ -- Calvin Harris seems to be doing a heck of a job on his own getting his name out there. Already huge in the UK with a sold out headlining tour and successful performances at all the big summer festivals, the 23 year old Scot has created quite the stir in the mainstream media as of late by announcing that as a promotion for his new track Merrymaking At My Place he wants to set a new world record for the most house parties happening simultaneously across the country.
Ah yes, nothing sends the kids running to the iStore faster than their parents screaming 'bloody murder'. The National BBC news ran the story and both national broadsheets ‘The Times’ and ‘The Telegraph’ have run substantial articles on the contest — the story even made the front page of ABC news online in the US.
As a result of all of this hoopla, Calvin was asked to issue a guide on how to party responsibly. Now that should just about fix everything...
Labels: Music, The Payola Chronicles
Thursday, July 12, 2007
When the routine bites hard
From Visual Complexity:
"Using information design principles and graphical techniques, the 85+ recorded covers of Joy Division's "Love Will Tear Us Apart" is mapped in relation to the original recordings by the band."
The requisite soundtrack...
...and the trailer for Anton Corbijn's Control.
From Visual Complexity:
"Using information design principles and graphical techniques, the 85+ recorded covers of Joy Division's "Love Will Tear Us Apart" is mapped in relation to the original recordings by the band."
The requisite soundtrack...
...and the trailer for Anton Corbijn's Control.
Labels: Design, Edge of Chaos, Music
Monday, July 02, 2007
Fields Gets Remixed
Fields' "Everything Last Winter" is possibly the best album that you haven't heard this summer. They remind me a little of The Stars in the way that the male and female lead vocalists seamlessly trade off between tracks but their sound is its own distinct cachophony of folky acoustics merging with showgazer white noise, dead catchy riffs and ethereal harmonies. Highly recommended.
Anyway, they seem to be getting some due attention from the current crop of hipster dj's running the circuit including Ewan Pearson, Sebastian of the Ed Banger crew and Badlands. These three tracks arrived in my inbox on Friday to pass on to the blogsphere. Enjoy:
“Song for the Fields” (Ewan Pearson Remix)
“If You Fail We All Fail” (SebastiAn Remix)
“If You Fail We All Fail” (Badlands Remix)
Fields' "Everything Last Winter" is possibly the best album that you haven't heard this summer. They remind me a little of The Stars in the way that the male and female lead vocalists seamlessly trade off between tracks but their sound is its own distinct cachophony of folky acoustics merging with showgazer white noise, dead catchy riffs and ethereal harmonies. Highly recommended.
Anyway, they seem to be getting some due attention from the current crop of hipster dj's running the circuit including Ewan Pearson, Sebastian of the Ed Banger crew and Badlands. These three tracks arrived in my inbox on Friday to pass on to the blogsphere. Enjoy:
“Song for the Fields” (Ewan Pearson Remix)
“If You Fail We All Fail” (SebastiAn Remix)
“If You Fail We All Fail” (Badlands Remix)
Labels: Music, The Payola Chronicles
Tuesday, June 19, 2007
God Only Knows
If you can stand the minute and a half lead in by Paul Reiser --it is amazing to think that he actually had a career after the eighties-- this is a rare and beautiful performance of what might be one of the most perfect songs ever written: Brian Wilson singing God Only Knows.
If you can stand the minute and a half lead in by Paul Reiser --it is amazing to think that he actually had a career after the eighties-- this is a rare and beautiful performance of what might be one of the most perfect songs ever written: Brian Wilson singing God Only Knows.
Monday, May 21, 2007
Talkin' 'Bout The Old Style Too
Below is a link to the video of Dawn Landes’ beautiful bluegrass cover of Peter Bjorn & John’s “Young Folks.” Dawn recorded the song with WST (We Sorta Tried) Bluegrass Band from Austin, TX. Kind of ironic as apparently, the youngest “folk” in WST is 67.
More on Dawn Landes: She hails from Kentucky but she lives in NY, performing and recording with the musicians from Hem and The Earlies. She’s supported José Gonzalez, Suzanne Vega, Shannon Wright, Feist, Le Tigre and Andrew Bird and she has worked as a sound engineer with the likes of Philip Glass, Ryan Adams and Joseph Arthur.
Watch Dawn Landes with WST Bluegrass Band covering “Young Folks” on YouTube.
Here’s the mp3.
Below is a link to the video of Dawn Landes’ beautiful bluegrass cover of Peter Bjorn & John’s “Young Folks.” Dawn recorded the song with WST (We Sorta Tried) Bluegrass Band from Austin, TX. Kind of ironic as apparently, the youngest “folk” in WST is 67.
More on Dawn Landes: She hails from Kentucky but she lives in NY, performing and recording with the musicians from Hem and The Earlies. She’s supported José Gonzalez, Suzanne Vega, Shannon Wright, Feist, Le Tigre and Andrew Bird and she has worked as a sound engineer with the likes of Philip Glass, Ryan Adams and Joseph Arthur.
Watch Dawn Landes with WST Bluegrass Band covering “Young Folks” on YouTube.
Here’s the mp3.
Labels: Music, The Payola Chronicles
Tuesday, May 15, 2007
Monday Night at the Commodore
It is still early. The shades at the Commodore have been drawn to hide out the May late evening light. The opening band, Photo Atlas, pours its heart out on stage to a dozen or so kids swaying back and forth on the dance floor while others bide their time sipping cocktails in the shadows of the surrounding booths. It is the first night of the tour. Headliners, the Bravery have a new album coming out in a week's time, so in the interrim it is all about gaining momentum and honing one's chops. Vancouver serves as a testing ground; a litmus paper. There are bigger, brighter times ahead for these bands. As Photo Atlas' singer, Alan Andrews would tell me later on in the evening, "I can't wait to get to New York!"
Which is right fair. This is a solid lineup which will no doubt evolve even more in the weeks to come. The second act, Test Your Reflex, falls within the expected nu-rock dance band roll out but puts on a decent show in the process, pushing their recently released debut The Burning Hour, and seeming sincerely grateful to be on stage and a part of it all. By the time the Bravery comes on, the club has filled up and the crowd seems resolved on making the most of a Monday night. While the set remains thickly padded with tracks from their first album, there are new efforts, such as the first song off the album, Believe, that play out well and seem to promise a far more interesting sophomore effort than their first single "Time Won't Let Me Go" might suggest. Overall, they are tight as hell, and for the same reasons that the music critics love to tear them apart -- for writing easy to like, formulaic dance rock -- their set is instantly accessible and ceases to lag through to the encore.
With the final chords carpeting my inner ear, we step back out onto Granville Street. It has been a hell of a week, one that played out at both ends of life's extremes; of death and new life and the stirrings of greater challenges on the horizon. I had found myself getting caught up in all of this throughout the course of the evening; the music pulling me into the moment, reminding me inevitably that I am here and that nothing should ever be for granted.
On the way home I find a king of diamonds playing card on the sidewalk. I throw it off the Cambie Bridge and watch it slowly twirl down into the dark abyss of the waters below until it is swallowed completely.
For James Lee.
It is still early. The shades at the Commodore have been drawn to hide out the May late evening light. The opening band, Photo Atlas, pours its heart out on stage to a dozen or so kids swaying back and forth on the dance floor while others bide their time sipping cocktails in the shadows of the surrounding booths. It is the first night of the tour. Headliners, the Bravery have a new album coming out in a week's time, so in the interrim it is all about gaining momentum and honing one's chops. Vancouver serves as a testing ground; a litmus paper. There are bigger, brighter times ahead for these bands. As Photo Atlas' singer, Alan Andrews would tell me later on in the evening, "I can't wait to get to New York!"
Which is right fair. This is a solid lineup which will no doubt evolve even more in the weeks to come. The second act, Test Your Reflex, falls within the expected nu-rock dance band roll out but puts on a decent show in the process, pushing their recently released debut The Burning Hour, and seeming sincerely grateful to be on stage and a part of it all. By the time the Bravery comes on, the club has filled up and the crowd seems resolved on making the most of a Monday night. While the set remains thickly padded with tracks from their first album, there are new efforts, such as the first song off the album, Believe, that play out well and seem to promise a far more interesting sophomore effort than their first single "Time Won't Let Me Go" might suggest. Overall, they are tight as hell, and for the same reasons that the music critics love to tear them apart -- for writing easy to like, formulaic dance rock -- their set is instantly accessible and ceases to lag through to the encore.
With the final chords carpeting my inner ear, we step back out onto Granville Street. It has been a hell of a week, one that played out at both ends of life's extremes; of death and new life and the stirrings of greater challenges on the horizon. I had found myself getting caught up in all of this throughout the course of the evening; the music pulling me into the moment, reminding me inevitably that I am here and that nothing should ever be for granted.
On the way home I find a king of diamonds playing card on the sidewalk. I throw it off the Cambie Bridge and watch it slowly twirl down into the dark abyss of the waters below until it is swallowed completely.
For James Lee.
Labels: Music, The Payola Chronicles
Monday, May 07, 2007
The Bravery and The Photo Atlas @ the Commodore, Monday May 14th
New York rockers, The Bravery are going to be at the Commodore in Vancouver this coming Monday toting their yet-to-be-released sophomore effort, The Sun and the Moon (in stores May 22nd). Chances are if you were deep into the "nu-rock" wave that washed through a couple of years back with the Icarus-like rise of Franz Ferdinand, The Stills and The Killers, then you may have picked up The Bravery's self-titled first album in the process. It was a listenable collection of tracks, with high points arising typically when the song sounded like someone else's, but good for padding out that skinny tie playlist for that special hipster sweetheart nonetheless.
More interesting, in my opinion, is the opening band in next Monday's lineup: The Photo Atlas. At this point I know little more than what is offered on their mySpace site and the 30 second sound bites off iTunes but I like what I've heard so far. Their sound is fresh, angst-laced dance-rock with roots which, to their credit, seem to dip into the coffers of Fugazi and Gang of Four. I can only hope that the energy that boils over their album No, Not Me, Never is fully channelled into their live performance.
Tickets for the show can be had at Ticketmaster.
New York rockers, The Bravery are going to be at the Commodore in Vancouver this coming Monday toting their yet-to-be-released sophomore effort, The Sun and the Moon (in stores May 22nd). Chances are if you were deep into the "nu-rock" wave that washed through a couple of years back with the Icarus-like rise of Franz Ferdinand, The Stills and The Killers, then you may have picked up The Bravery's self-titled first album in the process. It was a listenable collection of tracks, with high points arising typically when the song sounded like someone else's, but good for padding out that skinny tie playlist for that special hipster sweetheart nonetheless.
More interesting, in my opinion, is the opening band in next Monday's lineup: The Photo Atlas. At this point I know little more than what is offered on their mySpace site and the 30 second sound bites off iTunes but I like what I've heard so far. Their sound is fresh, angst-laced dance-rock with roots which, to their credit, seem to dip into the coffers of Fugazi and Gang of Four. I can only hope that the energy that boils over their album No, Not Me, Never is fully channelled into their live performance.
Tickets for the show can be had at Ticketmaster.
Labels: Music, The Payola Chronicles
Tuesday, April 24, 2007
Great Counterculture Logos - Part 7
The Revelation Records logo by...well, a few different people actually. Jordan Cooper explains:
We used stars on the first few releases as a background which was Ray's idea. He liked how Dangerhouse had black and yellow bars as their background on the labels so he wanted us to have something to identify Rev with like that. We got a Letraset sheet of stars and used it on the first three records we put out. The fourth record was going to be the Gorilla Biscuits 7" and their friend (who would later join the band as a second guitar player), Alex Brown offered to do the layout for them. Alex took the star concept and put the letter "r" in a star and had the label name under it inside a box. Ray, Alex and Porcell all lived together in Brooklyn at the time so Ray saw the artwork before I did. He really liked the idea and called me to tell me about it. From his description over the phone I re-created it. That was the logo we ended up using because we had already used it on a few things (probably flyers, catalogs and ads). We used it on the GB 7" and the Side By Side and No For An Answer records and repressings of the Sick Of It All 7" too. Then we were working with Dave Bett at our main distributor Important on the layout for the New York City Hardcore - The Way It Is compilation and he offered to clean it up for us. He did and that's basically the logo we've been using ever since.
The Revelation Records logo by...well, a few different people actually. Jordan Cooper explains:
We used stars on the first few releases as a background which was Ray's idea. He liked how Dangerhouse had black and yellow bars as their background on the labels so he wanted us to have something to identify Rev with like that. We got a Letraset sheet of stars and used it on the first three records we put out. The fourth record was going to be the Gorilla Biscuits 7" and their friend (who would later join the band as a second guitar player), Alex Brown offered to do the layout for them. Alex took the star concept and put the letter "r" in a star and had the label name under it inside a box. Ray, Alex and Porcell all lived together in Brooklyn at the time so Ray saw the artwork before I did. He really liked the idea and called me to tell me about it. From his description over the phone I re-created it. That was the logo we ended up using because we had already used it on a few things (probably flyers, catalogs and ads). We used it on the GB 7" and the Side By Side and No For An Answer records and repressings of the Sick Of It All 7" too. Then we were working with Dave Bett at our main distributor Important on the layout for the New York City Hardcore - The Way It Is compilation and he offered to clean it up for us. He did and that's basically the logo we've been using ever since.
Labels: American Hardcore, Design, Great Counterculture Logos, Music, Street Level
