new stylus blog
stylus message board
03/01/2002 - 04/01/2002
04/01/2002 - 05/01/2002
05/01/2002 - 06/01/2002
06/01/2002 - 07/01/2002
07/01/2002 - 08/01/2002
08/01/2002 - 09/01/2002
09/01/2002 - 10/01/2002
10/01/2002 - 11/01/2002
11/01/2002 - 12/01/2002
12/01/2002 - 01/01/2003
01/01/2003 - 02/01/2003
02/01/2003 - 03/01/2003
03/01/2003 - 04/01/2003
04/01/2003 - 05/01/2003
05/01/2003 - 06/01/2003
06/01/2003 - 07/01/2003
07/01/2003 - 08/01/2003
Friday, May 31, 2002
Eminem on Techno-
I've always thought that line was about the assimilation of techno into other musics. Techno doesn't really exist in a pure state anymore, nowadays there's this big push towards integration of other styles. I'm sure Eminem doesn't mean what he's saying so literally.
Sampling saved by whites!
The London Indepedent reviews the new DJ Shadow:
"Brian Eno once welcomed the advent of sample culture for the way it allowed "curators to become creators" – even though, at the time, it appeared as if the entire form boiled down to little more than the most basic looping of James Brown and Funkadelic samples for dullards to rap over. Thankfully, things have changed since then, with the likes of Beck and the Avalanches demonstrating how complex, quirky and graceful sample-collages can be, provided the curator has a large enough archive to draw upon and the wit to wield it imaginatively."
"Nobody listens to techno"
Could it be a bit of a knowing jab at hip-hop’s annexation (usurption?) in the U.S. of techno and dance culture? The D-12 album has loads of techno touches, too, so he can’t be that opposed the sound and the song skirts around hip-hop’s popularity elsewhere. ("20 million white rappers").
Damn, Brett’s right about Obie (and he’s the one who kicks off the song, right?). I was hoping it had something to do with Moby’s "low-key" relationship with Natalie Portman and it was some sort of Obi-Wan-Kenobi thing. (Was the line picked because of all the D-12 crew Moby’s name rhymed with Obie’s or is that reference also implied? Granted, Obi to Star Wars to Portman to her ‘stomping’/dumping – if indeed she even did -- Moby is a bit of a stretch, though.)
"Without Me" contains the lyrics "Nobody listens to techno". Does that mean no one is listening to this song? I've heard it banging at clubs- and much harder than any recent Mody track, who is the subject of this particular diss on this line of the song.
And while I'm on the subject, he says that Moby could got stomped by Obie. Brett tells me that this is a rapper from D12. I always heard it as Opie from the Andy Griffith show and will continue to hear it that way, since it's a much better mental image.
Thursday, May 30, 2002
I downloaded the album on a whim (or momentary lapse of reason), and I have to admit, I like it. Without a single dynamic change, the record, when considered as a whole, is a 40 minute drone or trillions of layered guitars and synths. If it weren't for his exploding popularity and absurd lyrics, this shit would be at least as respectable as Trans Am - retro-cheese at its finest.
It's like a Casio keyboard demo, you know it's terrible, but it's catchy so you listen again, and again, and again...
Look for a full review later...
Tuesday, May 28, 2002
"Who has the larger budget? The Dismemberment Plan or Sony? Does "professional" mean that one must obsequiously hand over anything and everything to the multiconglomerate that makes a rumbling?...It's not even about being an indie band or an artist. It's about being a human being, and choosing to stand on one's own feet for the sake of honor. Perhaps it was pissy of Travis to post the letter and make the comments that he should, but corporations are engaged in class warfare, from the janitor to the secretary to technicians to the singer in a band, so there's no sense in trying to be polite. They will steamroll everyone. It's worth taking a small stand as a human being not to be pushed around."
From one of my daily reads, The Badger. Check out the full post over there.
I agree with some of the points you make, of course. But others I don't...Sony may have the larger budget, certainly, but who has more to gain from a major label recording contract? I would rather this band be sending out promos of their albums to conglomerate labels, so that they can get better distribution and radio play, than keeping the same small minded interviews with websites like my own. I'd rather have the D-Plan blowing me off, because they are so rich and working on their newest piece of art (not product) to give me the time of day. As it stands, I have the same basic premises that most people that frequently listen to this music do: it's criminal what major labels do to bands and how corporate music has become. My solution, however, does not require that smaller bands need take ethical stands against corporate labels- especially if it comes off as whining. Take a page from Fugazi, kids, don't complain about it- actions speak louder than words.
Monday, May 27, 2002
At the risk of hurting my own website, why shouldn't the Dismemberment Plan be giving out promos or free copies of their albums? Many websites, print magazines, and industry people undoubtedly received the album in advance to promote it to other people, why shouldn't a major label industry type be able to procure a free copy of it? I can see where the label person appears thick headed and probably hasn't been to a record store in fifteen years, but seriously who cares? Isn't that what we expect these people to be like, anyway? I don't have a problem with anyone's behavior in this entire thing, except for Travis', however.
Does he expect sympathy because he's a struggling artist? His group's "art" obviously means sooooo much more than any other pop act, nowadays. I guess the obvious difference between The D-Plan and someone like Steely Dan, that he compares himself to (!), is that Steely Dan was successful. The D-Plan is obviously not as successful. It's obvious that there's a place for art within the context of popular music (Radiohead, etc.), it's just that the D-Plan hasn't had that one hit that has vaulted them up to such a place. I agree with Evan, it's both unprofessional and egotistical to make such a public statement like that, even if some of it is tongue in cheek. The very fact that some people don't read it as such negates the fact that it could be a complete joke.
Basically, the D-Plan should go back to a major label, record something like Emergency and I and let a "What Do You Want Me To Say?"-esque song take them to super stardom if they want it so bad. Otherwise, they should complaining about being treated poorly and not making enough money. That's not my fault, guys. I've bought all of your records and a sweatshirt...and odd looks from old women "Dis...Dis...Dismemberment Plan? What's that, some kind of cult?"
Thursday, May 23, 2002
"A society that so blatantly shuns creative progression in the face of profit is one that I'm almost sad to say I live in."
also, regarding weezer... regardless of what i say in my review, i do like this new album for some reason. It's a great disposable pop album... weezer, it seems, is pretty damn good at manufacturing rock-product.
Wednesday, May 22, 2002
<< and colin, if you misrepresent andy partridge again, i may have to smack you. no relation to the 70s kitsch-purveyors of the same name, he's XTC's frontman, and genuine post-punk royalty to boot. the man actually gives pop a GOOD name, unlike those other partridges. and incidentally, his crippling stage fright ensures that we'll never be faced with the onerous prospect of having to (gulp) dance at one of his shows! >>
Hehe, I always get those two mixed up.........XTC rokkz and yeah. Dammit.
i'm so cool i'm frozen solid
RE: The Dismemberment Plan/Travis Morrison
Personally, I didn't interpret Travis' comment as egotistical or even entirely serious. It seemed to me that he was clearly playing off the press' opinion of his band, kind of creating a contrast between the mainstream and the underground. But I suppose that part is open for further interpretation.
As for his diatribe about the record industry, I think he was right on (I recommend that you all read the rest). Not only was their behavior regarding the band insulting, it was unprofessional, which is, sadly, business as usual in the major label world. A world in which true innovation is increasingly discouraged. This isn't to say that it never occurs, but very few notable works come to mind. Releases such as The Blueprint, as brilliant as they may be, rarely break new ground. I'm glad that an increasing number of artists, such as Mos Def in Newsweek a couple months ago, are speaking out against the polarity of major label music, and its various henchmen (and yes, this includes that freshly post-collegate !!! fan). His comment regarding the value of Andy Partridge's catalogue versus that of Joni Mitchell or Steely Dan, however exclusive it may be, was right on. It's not up to the music labels to dispose of teen pop/rock, or other highly lucrative ventures, to do that would be both absurd and hypocritical, but they do almost have a responsibilty to open their eyes, and see beyond the dollar signs. A society that so blatantly shuns creative progression in the face of profit is one that I'm almost sad to say I live in.
Perhaps an overblown statement, but one that I can't help but dwell on...........
Tuesday, May 21, 2002
from their website:
"We are obviously talented as shit and in it for a lifetime. I mean, you can't front on us now."
I knew they listened to gangta rap, but i didn't realize how pervasive the influence was...
seriously though, Travis's 5-17 news update comes across egotistical as all hell, and completely unprofessional. Of course, you can argue that "professionalism" is a construct of the music industry, but still, he sinks to the level parallel to those he criticizes, and that's not going to impress anyone. Regardless of how kick-ass the Plan is (and I must admit, they're one of my favorites), petty boasting is not going to win you any fans - fans that are the most important thing to any indie/non-major band.
are you a cyborg: i really can't tell if i love or hate black dice
Todd L Burns: you hate them.
Todd L Burns: fgrr
are you a cyborg: eheheheh!!!1
are you a cyborg: i like "smile friends"
are you a cyborg: i like the next song until i realize it's been going on for 5 minutes
are you a cyborg: i don't like the firs tsong, i don't want to ilsiten to the last because by that time im drained
are you a cyborg: SO EYE DONANNT KNOW1
are you a cyborg: did anyone review them!!11
Todd L Burns: no they haven't
are you a cyborg: have you heard their new album, ithink it doesn't have the cool thrashing angry parts and is more just weird droney noises
Todd L Burns: you shold sometime
are you a cyborg: maybe i will soon
are you a cyborg: ;-)
Todd L Burns: dont forget your are classic guy
are you a cyborg: I KNOWLM
are you a cyborg: i mean like before classic guy thing takes full effect
Todd L Burns: that's next week, then?
Todd L Burns: !!!
are you a cyborg: dude, what are you saying...it's totally a classic!!
are you a cyborg: ;-)
are you a cyborg: yeah i dunno
are you a cyborg: FHHHHHHHHKKKKKKKKKKKKewwweeeeeeeeeeee
are you a cyborg: (i wrote my review in a way that approximates their style)
are you a cyborg: we are all made of starS!!!!
Todd L Burns: i've listenied to the smiths too much laterluy
are you a cyborg: jesus chrsit they showed moby ad like literally 100 times during adult siwm
are you a cyborg: :-(
are you a cyborg: would u be upset if i did a quick aim review for black diceszz ina ddition to classic review?
are you a cyborg: Wuold it make todd saddy
Todd L Burns: who would you do the aim review with?
Todd L Burns: DUDE
are you a cyborg: oh i forgit its with magazine peopel right
are you a cyborg: POOP
are you a cyborg: MAYBE THIS CAN BE THE HRHHHAHHREVIEW!
are you a cyborg: I PASTD THAT TO YOU ALREADY
are you a cyborg: THAT WAS RTHE REVIEW I HATE U SO MUCH
Todd L Burns: YOU NEED TO DO LONGER AND NOT SO STUPID REVIEW
Todd L Burns: IF IT IS ON AIM
Todd L Burns: I HATE YOU OYU ARE TRYING TO RUIN OHJH
are you a cyborg: HAHAHAHA
are you a cyborg: (im going to paste this in the beginning and then write a real one)
Todd L Burns: GRRRR
are you a cyborg: hehehee!
edited for clarity (?)...be on the lookout for a proper Black Dice review in the near future, perhaps a bit more coherent, even.
Monday, May 20, 2002
Before They Got Their Shit Together
This ILM thread about early Joy Division resonated with me, since I've spent some time as of late listening to the murkier, often shoddier corners of the band's discography (a bootleg live performance of "Leaders of Men," for instance, where Ian Curtis sounds more like Mumm-Ra than anything else). While a lot of this music isn't really very good, hearing it -- especially the songs under the Warsaw moniker -- is sometimes revelatory, and, at the very least, encouraging to all those in marginally shitty bands by telling them they too have potential to become something great (think the early, unfocused or generic writing of great authors that shows absolutely no literary promise). Have any of you heard early works by bands you loved, only to wish you hadn't, though? Didn't My Bloody Valentine start off purveying a derivative brand of Cramps-rock/Batcave-goth?
Sunday, May 19, 2002
There's a great record fair up here in Portland, Maine every October. I too, generally stick to the cheaper stuff and I've done quite well in the past. I've also been able to snag a number of cool bootlegs there. Last time I couldn't resist a $15 VU video from '67, which turned out to be crap (but I ended up making $28 selling it on ebay.)
Nice on the ISB, by the way.
Record Fair Pillaging
Today I decided to check out this Record Convention and see what goodies I might be able to scarf up. It wasn't a huge gathering of vendors but enough to make it worthwhile. I walked around, stumbling over people, surveying the scene. I thumbed through the high priced dealers with rare albums. Lots of nice stuff but I am hear for music, not museum pieces, so I hit the dealers with the records between $1-$10 range. Lets see, among the highights I picked up Easy Action-Alice Cooper, a slew of Incredible String Band recordings (including a Mike Heron solo album), The Celibate Rifles, Great Plains, some old Slade albums, some 10 record set called Dialoges of Democracy...hey for a quarter, it could be goofy, a found an NRBQ album I didn't own. My favorite finds were England's Glory, a pre-Only Ones recording of Peter Perrett and Los Shakers, which were Argentina's answer to The Beatles. Next weekend--garage sales.
Saturday, May 18, 2002
Awesome DJ experience -
I just got back from a walk. On my way to the store I heard this outdoor DJ playing 'I Ran' by A Flock of Seagulls, as the song ended he began playing some unbelievably bouncy reggae track. As I returned, I caught the tail end of 'Baba O'Reilly' segued to a very bombastic Afro-cuban dance song. The most interesting part of this is that he was 'spinning' (they were cassettes) for an outdoor health fair at an elementary school. I can't accept that anybody in attendence, the kids recovering from shots or the parents consoling screaming babies, would be appreciative of the diversity and style of this particular DJ.
Friday, May 17, 2002
Has anyone been able to listen to all of the new Trans Am?
I try to be accepting of others' tastes, but if you like T.A., you're either deaf or a complete jackass. Total shit; less a one trick pony than it is a dead horse.
Thursday, May 16, 2002
Complete agreement on Fantastic Damage, Gavin. I was at the show they did for the release, and was very impressed. DJ Abilities and RJD2 work very well together in a live format. Based on the material that Mr. Lif was doing, keep an eye out for his EP in a few months; he flows better than any of the others, excepting Vast. I have high expectations.
Wednesday, May 15, 2002
El-P - Fantastic Damage
Def Jux founder and uberproducer El Producto dropped his long-awaited solo album Tuesday, and boy was it worth the wait. El-P's signature Blade-Runner-meets-Bomb-Squad production has never been harder or more complex. And although El-P's skills on the mic pale in comparison to CanOx's Vast Aire or Aesop Rock, he can come through with a dope flow pretty consistently. I especially like El-P's choice of subject matter in his raps, which center around alienation from society, oppressive technology, and increasing corporate control (as well as traditional battle rhymes and a few scatalogical homages to his Company Flow days). DJ Abilities makes a wonderful appearance as well, using harsh chunky scratches which perfectly complement El-P's production, as well as providing some added rhythm and even melody to a few tracks. Another solid Def Jux release. They can do no wrong.
Using the traditional elements of Morr Music music (childlike synthesizers, bells, an almost annoying cuteness), Garland chose not to go down the route and create blissfully naive sounding pop music. Instead, his tracks remind me of a Kurt Schwitters Merz collage, almost. All of these little elements are floating around in their own individual space, letting your ear get used to them, until the end of the song when it finally all comes together and everything is one moving piece of art. It sounds rather disjointed at times, but everytime I listen to it again, it begins to make a bit more sense. Almost makes me think of what some people might have thought of Kraftwerk when they first heard it- sounds so wrong, at first, but with each successive listen the inherent non-funkiness of it makes it funky as hell.
All in all, one of the more interesting of Morr's releases.
Monday, May 13, 2002
Pop Music Focus Group
I know we're kinda indiecentric but this looks fun and open to everyone: Pop Music!
Even all you faceless readers out there can join in!
For the sake of argument, the American bootleg, as I define it, contains less elements of two distinct songs and more the alteration of a song, while adding an entirely new beat. The best example of this can be seen on the Kid606 and Friends compilation that remixes NWA. I think the very essence of difference between Girls on Top (defined as English by me) and Kid606 is that the American style is completely destructive, while the English style seems to be constructive.
I even think I'm way off in presuming this, but perhaps Kid606 is just a bit jealous. He's never, ever going to have the same commercial clout as Missy Elliot and his greatest work, thus far, has been through giving the chance to Hrvatski to remix him. He may be stirring up trouble, but he ain't stirring up interesting ideas and odd pop parallels in his deconstruction of already "out there" music. I never understand how Timbaland stays on top, introducing new elements to each song while using the same damn snycopated drum pattern. But he does- and he interests me, to see what he'll do next. I'm interested to see what Kid606 will do next, but only in a passing train wreck kind of way.
I think, just to say it, I'd like to be Kid606- so we can get past all the bullshit of me tearing him down.
But we're talking about the English here, eh? Well, the most competent of these bootleggers have won the notice of record labels and are currently being courted by record labels plus they're being heralded each successive month in The Wire in some way. See this month's issue for the obligatory Kid606 and Girls On Top coupling in the John Oswald article. It's pretty much obvious to me that this just another example of the Napster generation taking music back. The real producers that were capable of doing great things will create the best versions of these, while the worst will simply be laughable and traded amongst friends. See "A Stroke of Genius" and "Freak Like Me".
I can't see the English versions doing anything but becoming a simple pop phenomenon that will reinvigorate DJ's to their craft, more than anything else. I think, though, that it simply must be noted that Kid606 and Richard X are doing two completely different things and for different reasons.
Sunday, May 12, 2002
Thursday- Understanding In A Car Crash
Along with the intro and outro to this album, this song the real deal for me. I don't know, man. It's like the new brand of emo- the one fronted by Jimmy Eat World and Dashboard Confessional- meets a tiny tiny bit of the old style of emo in the form of shouted/screamed vocals. It's built entirely for my pleasure- the chords are the slightest bit discordant, the singer is absolutely horrible, and the song climaxes exactly when you know it should. It's everything I should hate, but I really like it.
"The idea of a guilty pleasure? That's as mixed-up to me as calling somebody a poseur. "You don't like this for the right reasons like I do." How awful. And the idea of, "I'm so ashamed for what I like." If you feel bad about liking something, then you don't really like it."- Andrew WK
Saturday, May 11, 2002
Don't care about Spiv? Well, then, check out this transcript (from the same site) of a labyrinthine chat with the similarly is-he-or-isn't-he-serious Bobby Digital.
Ian Svenonius interview
This has some pretty interesting bits, mainly because he seems to break character a bit.
Has anyone heard the Scene Creamers yet? Part of me's hoping for a (excuse the half-pun) rebirth of the Ulysses aesthetic.
Friday, May 10, 2002
Blogging It and Blogging It and Blogging It Well
A couple of articles on Salon about blogging.
Here and Here.
Thursday, May 09, 2002
Heal the world?
The Onion's Nathan Rabin on the new Blackalicious album, Blazing Arrow:
"Major labels have been rightly criticized for exploiting artists and appealing to the lowest common denominator, but if MCA's deep pockets allow it to expose Blazing Arrow to a mainstream audience, the world will be a better place for it."
Of course records can change the world -- usually because they initiate some sort of commercial or technological shift -- but I assume Rabin believes that this record could make some sort of signifcant cultural change. Is this possible? Can a record -- any record -- make the world a "better place"?
Damnit, I wish I got my top 10 list in now...
The Band I've been promoting to hell and back all over PFM and in my D4 review, the Datsuns, have just bust into the big time in Britain.
I saw these guys last year, and was convinced that I had witnessed the greatest live show ever. They play an electric rock'n'roll performance better than anyone I have ever seen, they really get the crowd involved and are really down to earth guys. I got the chance to sing up front on their NZ (semi) hit 'Super Gyration' and was totally taken in by the band.
As a side-note, the guys i'm currently forming a band with have played with them quite a few times on their NZ tours, and the next time the Datsuns are in Christchurch, I've probably got a support slot with them...
And now John Peel has gone and announced them as his fav. band of the year - their Peel session was a tremendous success, and apparently just about every record label in Britain is hounding over them after a brilliant performance at the Hammersmith..
Wednesday, May 08, 2002
Watermelon, Chicken and Gritz
The next Stankonia? Seriously, there's a similar level of hooks/bombast present here. There's the drawback that the Nappy Roots want us to be very aware of the fact that they are Country Boyz, but if you look past that the production is great and the tone is very upbeat. I have yet to hear the entire album, hopefully I can expand on this.
Interesting thread on ILM
A conversation talking about criticism vs. reviewing.
Check it out.
Anyone have any thoughts on these issues?
Monday, May 06, 2002
Lester Bangs/Rock Criticism
Evan, if you haven't seen Rock's Backpages, you might want to check it out.
They have a great archive of old rock criticism available to to look at, if you have the subscription service. If you don't want to pay, they offer the newest features for a week to look at and read and then send them into the archives.
I need to get a job.
Though probably not the best thing, as far as acadamia is concerned, I've been avoiding homework and finals-prep for the past week or so by reading this Lester Bangs biography by Jim DeRogatis. After finishing it, I told the Internet to look for some long-lost articles for me, but I didn't find much aside from this, an interview by the same guy. It's pretty interesting/entertaining, especially if you've got the free time, and have to wait till morning to read the next issue of pitchfork......
Sunday, May 05, 2002
Re: Bootlegs and Remixes
As hinted at, here are some thoughts on remixing and bootlegs.
Listening to this BBC Radio 1 program on the emergence of bootlegs brought up an interesting point. If the record labels chose to stop this practice from ever happening again, they could probably just merely not release the acapella version of songs on the ends of their singles. Why do labels adhere to this practice? It's not merely so that people can learn the words without worrying about the music getting in the way, I'm pretty sure. It's a tool for DJ's to use in the construction of unauthorized remixes. I don't know the first time that an acapella version of a song appeared on a single or on a record, but I'm willing to bet it had its flourishing within hip hop. Hip hop is built on the construction of samples and embraces the remix- the raising up of the MC to show his lyrical prowess without lyrics would also be a concern for artists attempting to top one another, I'm guessing. Thus, the bootleg, to me at least, seems to purely a remix. Perhaps the level of work in constructing a backing track is different, since the artist is using a completely different song. It would seem to me, however, that the process is just as valid and just as hard to construct a remix as it is to make a bootleg. I just see them as cut from very much the same cloth.
Anyway, if we disregard the idea of the bootleg as pure remix, what makes a bootleg good? Oddly, the same thing as a good remix. I don't think what Kid606 is doing is bootlegs or even related to that whole movement. However, all of this work coming out now by him and others on the Violent Turd label is labeled so. As Kid606 so aptly demonstrates there is a fine line between a good remix and a bad one- much of hiw work since the NWA tribute has been horrible. The essence of a good remix and a good bootleg, then, is putting the original pieces of work in a new light. By either introducing new elements to the original song, playing off the artists reputations, or using the contrasts of the elements to full effect the bootlegger can succeed, in my eyes. Kid606's NWA compilation was so successful because it was obvious that NWA was the future of rap, a harder punk tinged rap that pushed the boundaries. By grouping all of the artists of the new American IDM movement, 606 successfully tied that same new harder punk tinged IDM into the original and made something interesting and new.
More thoughts on the English in a few days or so...
Thursday, May 02, 2002
Hey Clay...I caught that tour when it went through Cleveland. It was the first time I did an interview with an artist, in person. Dennis is an interesting guy and is into a lot of interesting political ideas and movements. Unfortunately, the meshing of politics and rock music has always been a tricky business. Some artists come off like they're preaching, some artists come off like they're very pretentious, and almost never does the point get across to the fans. I talked to a friend about Rage Against the Machine the other day and asked him if he had ever been inspired to read up on the things that they sang about in their songs and included in their liner notes. He said he didn't really care about what they were singing and just tuned into the rage of De La Rocha's voice. I wonder if it's like that for the majority of people. I personally don't subscribe to either TINC's or RATM's political ideas but as Dennis says,
"It's more exciting for me to turn on the TV and see a Rage against the machine video instead of a Brittany Spears video. I get really excited to see shit like that, and a lot of people are like "well, only jocks listen to Rage." Well, it's not their fault, like they put literature in their albums, they play benefits, they give money to the Chiapas, and they're really down with it. A lot of times when you are a political band people really want to analyze you, like "you're a political band and you said that." You sort of invite criticism, and that's the problem with a lot of bands today. They are so concerned with people not liking them that they say nothing. I wish every band on MTV was like rage, then we wouldn't need MTV, it makes me happy to see that there are bands out there like that. There are thousands of bands out there with the same message; catharsis, propaghandi and I wish that all of those bands were as big as rage. That would be fucking awesome. There is no need for messages like that to be confined to an obscure youth culture."
Oh yeah, and their live show? Almost made a white boy dance...and that's a feat.
I saw the international noise conspiracy about a year ago (they opened for at the drive in and the murder city devils). They were very good, a great live act. It's really a shame, in a way, because i'd go see them live again in a second, but I feel no desire whatsoever to buy any more of their albums (as they offer nothing I haven't heard before, and not played nearly as well as their predecesors... but then, you won't see any of their influences playing around town anymore...)
Anyone see the (International) Noise Conspiracy on Killborn the other night? They were great. It gave me three minutes to reflect on the Rocket From the Crypt/INC show my girlfriend and I went to see 367 days ago in Vancouver. Easily one of the four finest shows I've ever seen and well worth the plane tickets, hotel room and food costs. Has anyone else had a chance to see either of these bands? If so, please testify.
I find what Gavin has to say very true and again, if no one can understand that, one just doesn't understand Art in general. It is a reflection on their feelings and depending how they use it, its a very effective way to piece their emotions. I think one of the best ways I've heard the most dramatic form of sampling described (DJ'ing) was on the video "Modulations". I can't remember who said it but he just described it as collage. And thats exactly what it is. And again, back to Gavin...I'd like to have someone who accuse sampling of unoriginality to listen to Amon Tobin. What a perfect example he is for the benefits of sampling. Even Dj's like Kid Koala, say on Carpal Tunnel Syndrome, manage to turn obvious samples into a collage of one very focused feeling and experience.
Wednesday, May 01, 2002
I'm a nerd, so I tend to apply my school learning to other areas of my life (my myriad of grade school teachers no doubt smile at that one). Currently I'm taking an Art History class, an overview of modern art (i.e. post-Renaissance). And so it struck me one day as I was listening to my portable CD player the parallels between Gianlorenzo Bernini's The Ecstasy of St. Teresa and Boards of Canada's "Dawn Chorus" (arguably the best track off of Geogaddi. Bernini's sculpture displays the Spanish nun experiencing a vision of an angel spearing her with a flaming arrow, instilling the rapture of God throughout her body. And the piece captures the sensuality, almost sexuality of St. Teresa's vision. Similarly, "Dawn Chorus" features fuzzy analog tones that burst into my headphones like Bernini's wrought-gold sunbeams. Female moans are added to the mix, but they aren't salacious -- they aren't even sexual. They simply assist the already-gorgeous song in reaching further heights of sunny bliss. In fact, the sculpture and the song are so similar in effect, I wouldn't be surprised if Bernini perhaps inspired this particular track.