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February 27, 2006
wonders of technology
Islands - Graceland (live at the First Unitarian Church, Philadelphia, 12/05/05)
Now you can hear exactly what I was talking about when I said this:
They played everything that's slated for "Return to the Sea" and more ('I Feel Evil Creepin' In' is chronologically new(er), I think- the chorus of which is indescribably catchy; Guthrie, Diamonds and Sebastien Chow all singing the title phrase simultaneously) and put an effective exclamation point on the "Graceland" influence by, you know, covering the title track of that album (funny moment: after the punishingly amazing finale of 'Swans', the audience started leaving, slowly. Guthrie came back out after a minute, but it looked like he was just retrieving equipment. Then Nick Diamonds came out and said, "just packing up". So everyone turns their backs and suddenly the band's all there, rocking the intro of the Paul Simon classic).
Anyway, this live recording is from the always great peeps over at the Secret Unicorns Forum.
Posted by Kevin at 06:26 AM | Comments (0)
February 21, 2006
belbinated and agostorized
Still recovering from a long vacation weekend, lots of driving, lots of listening to music. In the course of my 12 cumulative hours spent in the car, I worked my way through a few different mixes (Todd Burns' amazing Jacques Lu Cont remix mix, which I had forgotten about a little, and DJ/Rupture's blistering Low Income Tomorrowland mix), but also focused in on a few single tracks, namely those Free Blood songs, 'Quick and Painful' and 'Never Hear Surf Music'- must have listened to those two 10 or 12 times each over the course of the weekend (they get better with each listen- I never realized how many ridiculous layers they've packed into each track). Anyway, if you haven't listened to them yet, go by their website to hear both songs (and read what Banana Nutrament and XXJFG had to say about the band as well). Free Blood are also playing in Washington D.C., at DC9, on March 11th.
However, this song also popped up, and brought back some interesting memories:
here's what I said about it back in September '04:
Luomo, aka Vladislav Delay, has created a song that is quite literally perfect, and there are a thousand reasons why I think so. How about the diva-man voice that's fractured and broken and as roughly faceted as a stillborn diamond? Or the effects-heavy guitar/synth solo that pops up right in the middle of the whole shining mess? Or perhaps the moment right after the solo ends when a tripled, crumpled beat crytallizes the honey-thick melancholy of the singer's intake-whisper of 'I wish' at minute 6:37 through 6:42? I played this song about 50 or 60 times, on a crappy tape deck in my car, on the way home from VA to PA during the massive winter storm that hit the east coast in late March of '03. Blinding snow. Lots of fucking huge trucks. Many near-death experiences varied only by their intensity and provenance (weather, or asshole driver?). My burning adoration of this music was formed in the stale heat of a blizzard-crippled '94 Buick Regal on I-95.
Song's still probably the best thing I've ever heard. Taken from Force Tracks' original "Digital Disco" comp. (the version of 'Present Lover' from "Digital Disco" is way, way better than the one that masqueraded as the title track of Luomo's 2004 LP), which you can buy here.
Posted by Kevin at 01:15 PM | Comments (0)
February 17, 2006
only the purest of ores will do
When I was seized last week by a mysterious compulsion to search madly for information on Kyle and Asa from Feathers' metal side-project (which is called Embalmed by Vastness- more on them at a later date), I stumbled across an unlikely collaboration they had struck up: one with J. Mascis and Dave Sweetapple, in a heavy metal band named Witch; I was even more surprised to see that Kyle sings and writes the lyrics, Asa plays guitar, Mascis is on drums (!!), and Dave is on bass. Both songs I've heard are amazing.
'Rip Van Winkle' features Kyle's version of the titular story, sung in his light, airy voice (cuts through the snariness of Asa's riffs and Dave's tarred bass), there's a strong melody to the song, but hell- most of this is about Asa's guitar, which is showcased at every turn, quick pit stops and flare-ups during the song, where Asa rolls out note upon shimmering note. The climax, at 3:52- with Kyle screaming "he had grown old" (Rip's shock in the story providing the dramatic tension here), and the mirrored grief of the guitar and bass along with a flash of temper from Mascis' drums- makes this song spectacular (I esp. love that little breakdown that ends the track).
Witch has a 7" single out now ('Soul of Fire' b/w 'Rip Van Winkle'), and the self-titled full-length is due for release in early March on Tee Pee Records. If anyone's going to SXSW, you can catch the band live on Saturday, March 18 (8.00PM) @ Redrum Annex, with a bunch of other Tee Pee bands. You can buy the 7" over here (and a Witch t-shirt, if you're so inclined).
Since we're talking metal, and since I'll take even the most tenuous connection as a reason to post some Tim Hecker (genius), here's a track from his gorgeously dark "Mirages": Tim Hecker - The Truth of Accountants
Posted by Kevin at 09:23 AM | Comments (0)
February 14, 2006
scheduled for marksmanship
Even though this is my Monday + Friday week, this is too good not to mention: Jeff Johnson over at Fitted Sweats (one of my favorites) spotted some new songs that Petra Haden put up on her website, done in the style of her all-vocal "Who Sell Out" album. She's got 'Thriller' streaming, and 'God Only Knows' for download. The latter is especially great.
Feathers side projects on Friday. They (Feathers) played the Fels Planetarium on Saturday night with Espers and Adam Arcuragi, but I couldn't make it- the snow that night was a little too daunting.
Posted by Kevin at 12:53 AM | Comments (0)
February 13, 2006
la neige
So, as I mentioned here, Disco Inferno's 5 EPs are pretty solidly out of print, and only available at places like Gemm. Since the songs on these EPs ("Summer's Last Sound", "A Rock To Cling To", "The Last Dance", "It's A Kid's World", and "Second Language") represent some of the band's best work, it's a shame that they haven't been reissued or reprinted by any labels (at least One Little Indian has kept the two later LPs "D.I. Go Pop" and "Technicolour" in print). I wouldn't normally share a whole album (or what amounts to one), but these songs are stunning, and they absolutely deserve to be heard.
P.S. Added We Pass Notes On Bananas and Lupatarskataja to the sidebar. Both blogs are well-written and chock full of compelling music (Lupatarskataja is a Finnish blog, and is going through a trial month of writing entries in English- seems like it's going pretty well so far). Go swing on by and check 'em out...
Posted by Kevin at 12:06 AM | Comments (0)
February 08, 2006
sippings and siphonings
Blue Pine - Baboon That Ran The Railroad
Before they were in Frog Eyes, Carey Mercer and Mike Rak were in Blue Pine, scheming songs that are similar to their current output- difference being that Blue Pine's material seems to be somehow cleaner in the recording, a little more tender, and maybe less wracked by Carey Mercer's howls (which I like, anyway). I particularly love his (Mercer's) lyrics on this song, "love/love was the tire that was patched in the night/well I blew right through them" (is he saying that this love, whatever it applies to, arose out of harsh necessity, or that it was somehow fixed despite his own carelessness? I'm not sure). 'Baboon That Ran The Railroad' itself runs on sweet banjo muttering, and Mercer's vocals (broadened by distortion), and runs its course too quickly.
I have to thank Popsheep (especially Jay and Ian) for exposing me (in the right way) to Mercer's songwriting- I mean, I had heard Frog Eyes and thought they were pretty OK, just nothing special. These posts (1, 2, and 3) made me realize just how amazing Frog Eyes are (and Blue Pine was) and how extraordinarily entertaining and viciously energetic (as became apparent from the concert mp3s) the band could be in a live setting.
Blue Pine's self-titled CD is still available from Global Symphonic, and you can actually get it two ways: either by ordering it directly, or by ordering a copy of Frog Eyes' "The Bloody Hand", you'll get it for free (which is kind of a remarkable deal).
Posted by Kevin at 09:54 AM | Comments (0)
February 07, 2006
tendon thing; iced it out.
This song is a trick; it's a wild, sitcom ending. Fire Engines turn Franz Ferdinand's first album lead-off riff into something bumpy and unlikely- if the original is a raucous party in an art gallery, then the Fire Engines say no, what it actually is is an unexplained visit from a gang of toddlers, armed with plastic swords, an unlimited supply of Mike and Ike, and a penchant for loud, shardful noises.
Fire Engines. Quite good. I personally don't think the Franz version of 'Get Up and Use Me' fares as well as the other side of this exchange, as FEs' 'Jacqueline' just sounds so effortless, and captures some of that sleazy, unwashable feel of the original. Anyway, this cover is taken from a used (!) copy of "Codex Teenage Premonition" that I found in a record store two weeks ago- it's a compilation of Fire Engines demos and live performances, and besides being a little on the shaky, stuttering side, the collection's got some excellent stuff (the Peel Session tracks in particular are great). [BUY]
Posted by Kevin at 09:48 AM | Comments (0)
February 06, 2006
a dun-colored low-slung town
A re-run, but only because during a trip out to Pittsburgh this weekend (for non-football releated reasons), I had this song running through my head:
It swings like the stand-out track from an early to mid-period Disney film, say, circa Sleeping Beauty, Sword in the Stone, or Jungle Book. Kind of a lazy inner-tube rolling down the river vibe to it. Those strings at the end are essential. Vetiver's Andy Cabic's voice is like a comfortable old afghan that sits by the bay window and becomes sun-bleached, frayed, and eroded by many naps. 'Quiri Quirano' is a humble song that struts, on occasion.
To understand what the lyrics are about, you have to know that this comes from Esopus Magazine's recent 'Imaginary Friends' compilation CD that accompanied their 4th issue. The good folks at the magazine asked their readers to submit descriptions of their childhood imaginary friends, which they then took and gave to various bands/artists and asked them to write songs based on the readers' descriptions. Which is just a fantastic conceit. So, for example, when you hear Andy Cabic sing, "Maura, my dear/who are you/talking to over there?", he's referring to Maura Pieretti, who submitted Quiri's story:
For years I had no memory of my imaginary friend. Until one day, many years ago, my mother and I, and somebody else, maybe my new boyfriend at the time, were chatting amiably. Amiably? Hard thing to imagine since I did not really get along that well with either one of my parents until I moved this side of the Atlantic. But that's another story. So, my mother discloses to me the fact that yes, when I was 5 or 6 years old, she worried a lot about me. She, a first-time mother, even thought of taking me to a psychiatrist, but that was not popular back then. She confessed her worries to my uncle- a general surgeon- who told her not to be alarmed if I talked to myself a lot and kept repeating the name "Quiri Quirano" (pronounced "Kweeree Kweerano") while gesturing to the empty room. It was not going to affect my chances to go to the university one day. As soon as my mother said the name Quiri Quirano, during that amiable conversation, a whole part of my memory came back to me. Of course, how could I forget? Quiri, my friend. We had so much fun together. How could anybody doubt the goodness of my friend Quiri? Such a good listener, and always ready to comply with any of my requests. The best thing about Quiri was that his grandmother lived in Firenze, and so in order to visit her- she lived all alone- we would have to get on a train and travel over there. And maybe spend the night with Quiri's grandma. And the train rides...those were relaxing after all the confusion and noise of the train station. Quiri and I would look out the window and see the cows and the peasants, and we would feel so grown up, all alone in the train car. Quiri was a delicate boy, always neatly dressed, not pushy or dirty-nosed like the boys down the street. His knees were never scratched or peeled, and I think he was quite fond of me. I still miss him to this day. Maura Pieretti - Belleair, FL
Vetiver has a new album, "To Find Me Gone", coming out sometime around May. And actually, now that I think of it, Esopus #5 has been out for a bit, featuring a disc (with a theme of audio-visuals) with tracks by Cadence Weapon, Mountain Goats, Josephine Foster, Kevin Blechdom, et al. Go check it out- the magazine is very well-designed, and has some consistently great features.
Posted by Kevin at 12:47 AM | Comments (0)
February 03, 2006
take one look at insolubility
Disco Inferno - Second Language
Just wanted to mention before delving into Disco Inferno, that Cutest Puppy in the World (whose songs are like Calder mobiles, made of wire, string, and dense, sweet-smelling wood) just released their new album "Finfolk" on Sockets. You can check out some songs here, and then stroll over here to buy the album ($7!).
There's no way to talk about this song without resorting to hydrodynamics, because 'Second Language' primarily cascades- it flows, majestically, gracefully, and (at the end) violently. The movement of this song, through light, effervescent notes of guitars and samples, retains a kind of fixed pace and force throughout (in the same way that the energy of a wave is constant as it passes through different portions and different depths of the ocean) but is expressed in various ways as the song progresses: there's the little eddies and whirlpools of the intro, the splashes of handclaps, the strong tug of the bass, and at the end a kind of twisting, primal crosscurrent.
Ian Crause sings, near the climax of the song, "we tried to talk to each other/but the words that came out of our mouths/were carried away on the wind/we turned them inside out", which I love- I'm personally a sucker for anything that assigns physicality to spoken words (see especially: Ben Marcus' "Notable American Women")- but that's not even the best part, as in the next line, Crause talks about trying to communicate with his eyes, how the moment dissolves into one physical gesture, "and we just smiled"- and what follows reinforces that ecstatic transition from the verbal to non-verbal; a gorgeous, torqued guitar solo (it is so strong and so joyful that it almost overshadows the rest of the song). This song either approaches perfection, or is perfect and I just can't tell.
Disco Inferno kind of started off as very-skilled Joy Division imitators (listen to their album "In Debt", which is astounding in its own way), but then started to explore territory that was more along the lines of say, Bark Psychosis or the Young Gods (coincidentally, all bands that I was introduced to by my old roommate's radio show/record collection)- using samplers in (what were then) sort of unprecedented ways. In the years leading up to and following the release of their second album, "DI Go Pop", the band released some unquestionably classic EPs, which is where 'Second Language' comes from (it's the title track of one of the EPs). Long story short though, the band never really achieved any kind of commercial success, they grew more and more frustrated and finally just broke up. I think all the band members still make music (Crause does, I know), but nothing that quite measures up to what DI produced (the Avalanches are probably the closest to exploring the same kind of territory that the band did).
I know you can still buy the band's last two albums (the aforementioned "D.I. Go Pop" and the later "Technicolour") at Insound, but I don't think the EPs have been reissued or anything recently. If you like 'Second Language', email me (address is on the right, up top, small print) and I'll set you up with the remaining songs of the five EPs (only thanks to Ned R. at ILM do I have a copy).
Posted by Kevin at 10:15 AM | Comments (0)
February 02, 2006
one step from drawing with a camera
I've been checking their website a few times a week for the past month and a half, hoping that this would happen: Free Blood finally put some songs up.
This !!! semi-offshoot, composed of Gorman, Madeline, and John XI (Pugh) really brings the kind of Cubist bass and crenellated beats that you'd maybe expect from an Excepter, but no, Free Blood do that while making songs that flow easily: sexy male and female vocals, kind of trashy, kind of tossed-off, pretty much the best thing you could imagine. Please go listen to 'Quick and Painful', and "Never Hear Surf Music', because both songs are just, I don't know, very refreshing...
Also, for New Yorkers, Free Blood is playing tonight, at the E&L Auditorium, NYU Kimmel Center, 4th FL, with Holy Fuck (also v. good), and Beans. Free Blood goes on at 8:00 p.m. (sharp, apparently).
Posted by Kevin at 06:04 AM | Comments (0)