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Archives for 08/27/2006 - 09/02/2006

Saturday, September 2, 2006

Flip Your Lid(ell) Today

posted by on September 2 at 11:35 AM

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photo: Jan Benz

Jamie Lidell, Bumbrella Stage, 3:45-4:45 pm. Go.


Friday, September 1, 2006

The MegaMix Battle is Finally Here

posted by on September 1 at 3:28 PM

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I’ve got to hand it to the organizers for the Megamix Battle, as they’ve managed to plaster every club, pole, and coffee shop within a mile radius of Capitol Hill with flyers. That dedication is just about to head into backlash territory, so it’s good that their battle is going to happen Saturday night at the Baltic Room. If you’ve already started to ignore the flyers, here are the details. It should prove fun to bounce between this and DJ Assault @ Chop Suey.
Famous Players and Service Systems presents…

Sept. 2, 2006
Battle of the Mega-Mixes

DJ Naha, Samuel Kirkland, Kris Moon, Justin Byrnes, Nordic Soul, DJ Recess,
and Kristina Childs will compete to see who will be the Mega-Mix Champion

With special performances by: Scratchmaster Joe, MChateau, Samuel Kirkland,
Travis Baron, Introcut, and your hostess Jackie Hell.

Each competitor is allowed ten minutes in the first round, which is judged
by DJ Eddie, Module and a Top Secret Celebrity Guest Judge. The top two face
off in a Death Match, which is judged by the audience. The winner takes home
a brand new Rane TTM 56 DJ Mixer. Also up for grabs are brunch for two at
Rosebud, a $25.00 gift cert. and two bottles of wine courtesy of Faire
Gallery Café.

@ The Baltic Room 1207 Pine St., doors at 8:00 PM, battle starts at 11:00
PM.

Info: myspace.com/megamixbattle

Get your presale tickets @ Faire Gallery Café 1351 E. Olive, Platinum Records, or, brownpapertickets.com

Seattle Gets Krump

posted by on September 1 at 3:17 PM

Eli Sanders mentioned over in the SLOG that there was a krumping competition on Wednesday night. I’m not sure if he went, but I did, and despite the comments of Seattle98104, krump is certainly alive and well in the 206. It may not be a Seattle creation, but at least some Seattlites have taken it and made it their own.

The Youngstown Cultural Arts Center theatre was filled to capacity with people of all ages that night, and looked to be dominated by the family and friends of those battling. Most of the dancers looked like they went to school together. Fashion-wise, not a lot of surprises, other than the popularity of Vans slip-ons. WTF?

The dancing fluctuated a bit in intensity, but the best Seattle has to offer could likely hold their own anywhere, with feats that my body couldn’t have managed even in my younger days. If you’ve seen Rize, you know what the competition looked like, and Seattle’s battle also featured battles between ladies, kids, and bigger fellas. The music was coming from a provided CD of what seemed like downloaded battle tracks, which was repetive as hell, but functional. What was most interesting to see was the incorporation of other dance styles into krump, so there was a heavy dose of breakdancing infused with everything going on, opening up the competition stylistically. The three best moves of the evening (each of which caused the crowd to go insane):

- One of the krumpers flipped off the stage, bouncing his head on the stomach of a strategically-placed teammate along the way.
- The same krumper in a later battle krumped his way into a crowd of the opposing family, then flipped off the shoulders of two very surprised competitors.
- One of the dancers was doing standard krump, while a teammate got on his back on the floor. The battler came over and stood over this teammate who held the battler’s legs while he krumped and did that lean-forward thing that Michael Jackson did in the Smooth Criminal video. Fucking amazing.

So is krump dead? Hardly. It might not be omnipresent, but it’s still going strong. The sense I got was that this wasn’t a one-off competition, so this wasn’t your only chance to see these dancers in action. I’d highly recommend doing so. It makes the whole hyphy thing make a little more sense - just a little though.

Oh, and pics on the way once I get them.

Chop Suey Gets a Makeover

posted by on September 1 at 2:30 PM

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DJ Assault: Bass for your ass this Saturday.

When Chop Suey talent booker Steven Severin departed for Neumo’s earlier this year, it became strikingly apparent that the Chop would have to improve its game if it wanted to compete with the already formidable Pike St. club. Toward that end, new talent booker Colin Johnson reports, Chop Suey is upgrading its infrastructure.

The ch-ch-changes? A new Funktion One Sound System; new lighting (“intelligent lights, strobes, LED, colors galore,” says Johnson); an in-house screen and projector to increase the visual capabilities; a fresh coat of paint; and a new website.

To celebrate its fresh wares, Chop Suey is throwing two free shows this weekend. Tonight Tommie Sunshine, Barry Weaver, Franki Chan, and others are spinning at a show sponsored by FILTER Magazine and Imeem.com. The Sept 2 gig featuring Randy Jones, Lincolnup, and DJ Assault, which is going to be a bunanza [sic] for lovers of booty bass/ghetto tech. (Both of these shows are discussed near the bottom of this week’s Data Breaker.) Sunday is an official Bumbershoot afterparty with Rishi Rich Project (10 pm, $20 adv, 18+/bar with ID).

What’s On Your Agenda?

posted by on September 1 at 12:55 PM

To say that this will be a busy weekend is an understatement. Here’s what my itinerary looks like:

Friday: Kelly O’s birthday party and then Radio Birdman. Hopefully some sense of restraint will be at play so that I have energy for tomorrow.

Saturday: It’s all about Bumbershoot. The Gossip at 12:45, Blondie at 2:15, Sharon Jones at 7:30, and the Blood Brothers at 9:15.

Sunday: Even more Bumbershoot, provided I’m still standing. The New Pornographers are on at 1 pm, followed by Spoon at 2:45.

Monday: Resting and theoretically enjoying a couple of Hebrew Nationals on the grill.

Alright Line Out readers, what’s your plan?

YETI #4

posted by on September 1 at 9:42 AM

In lighter news… while in Portland, I had a lovely breakfast with former Seattle denizen Mike McGonigal, publisher of YETI. He slipped me an early copy of Issue #4, in stores next week, and it is friggin’ awesome. There’s a complete table of contents here, but I was especially thrilled to see the interview with Octavia Butler and Drew Daniel’s article “How To Sing Along with ‘Sweet Home Alabama.’” The free CD is bursting with goodness, too: Destroyer, Okkervil River, The Blow, and “Down and Out in Madrid and Barcelona” by Somos Marquis Homos, the Rock Lottery supergroup featuring Spencer Moody, David Bazan, and members of Holy Ghost Revival, Full, and Tall Birds.

If you’re in Portland tonight or tomorrow, YETI is hosting the first Halleluwah Festival of Enthused Arts, featuring performances by Erase Errata, Vashti Bunyan, Deerhoof, Dengue Fever and many more. (Think the best esoteric bits of Bumbershoot without the filler.) Also, at Halleluwah you can pick up a copy of the limited edition Halleluwah commemorative LP, which features rare and unreleased cuts by Michael Hurley, Deerhoof, Tara Jane O’Neil, Sir Richard Bishop, and nine more. Go. Go now!

RIP Adam Goldstone

posted by on September 1 at 9:16 AM

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I got home from a two-day, Internet-free trip to PDX last night to learn that my friend and colleague, New York DJ, producer and writer Adam Goldstone (aka Tiny Trendies, Cultural Mambo, etc.), had died in a sudden accident late Tuesday. I had known and worked with Adam since the early ’90s, when I still lived in NYC, and I can’t believe that someone so full of life and, more importantly, tenacity, has gone so quickly. Adam last visited Seattle in 2002, to play one of the Swedish Housewife’s parties at The Catwalk and spin tunes on KEXP with DJ Riz. You can read my interview with him (for “that other paper”), circa the release of his Nuphonic studio album, Lower East Side Stories, here. But don’t take my word for it—The Stranger liked him, too. A couple of his DJ mixes live here and here. Godspeed, Adam. You are missed.


Thursday, August 31, 2006

Flyer of the Week

posted by on August 31 at 9:43 PM

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Lasers and crotch injury to the VP? You win.

The advertised in-store at Electric Heavyland should provide a raucous start to the weekend, with Abiku and Mose Giganticus performing (check out the former’s “Fancy” and the latter’s cover of “Mr. Roboto.”)

Ong Ong Zine Release Party Change

posted by on August 31 at 4:22 PM

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Na: Playing Ong Ong’s issue 3 release party.

In this week’s Stranger Suggests, we accidentally printed the wrong venue for Ong Ong’s September 2 release party: it actually takes place at 6 pm at Artworks, 619 Western Ave. #4, which is a few blocks away from Tashiro Kaplan Artists Lofts.

Ong Ong is a Seattle-based underground-culture zine whose creators have their hearts and aesthetics in the right place, as praise from Arthur magazine’s Bull Tongue columnists and Punk Planet attests.

Where is Belinda Carlisle?

posted by on August 31 at 3:04 PM

Being a mom in the south of France and recording in a non-native language, apparently. So does this mean all the rumors I’ve heard about the head Go-Go being a Republican are false?

‘Burg-lary

posted by on August 31 at 2:34 PM

Last night, after a show in Williamsburg at Slavic themed club Warsaw, Dinosaur Jr. were the latest victims of equipment theft. Props to BoingBoing for spreading the word far and wide so quickly. Here’s to a speedy reunion with their gear. Musicians, remember to check StolenGear before you bid on an Ebay celeb treasure.

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Robert Christgau Fired From the Village Voice

posted by on August 31 at 1:30 PM

Well, at least he received what he deemed to be “sweet severance.” Read it and weep here.

The Hold Steady vs. Myspace/Youtube.com

posted by on August 31 at 11:20 AM

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Craig Finn and company may have come up with the best marketing plan ever. Check out their new site here. The new record has taken a while to grow on me, but I was officially won over last week by the line, “I’ve had kisses that made Judas seem sincere.” As Mike Jaworski from the Cops pointed out to me the other night, “Citrus” (song in which aforementioned lyric can be found) just might be the sweetest and smartest indie rock love song ever written.

The only bad news in Hold Steady land for Seattle fans? If you dig both them and the Black Angels, you’re screwed: they are playing the same night—October 21—in different venues (the Hold Steady will be here and the Black Angels here). Local agents tried to get them on the same bill, but couldn’t get everyone to come to an agreement.


Wednesday, August 30, 2006

It’s Hard Out There For a Metalhead

posted by on August 30 at 2:45 PM

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A young girl in the U.K. claims she was stabbed in the eye because of her love of AC/DC. Let this be a lesson to us all, especially gay, retarded losers such as myself.

Music Criticism: Now In An Easy-To-Write Package!

posted by on August 30 at 2:22 PM

While waiting in the lobby of the NW Film Forum for a press screening of a music documentary, a writer from the P.I. casually remarked that, “Writing about music is so much easier than film.” The Weekly’s Rachel Shimp diplomatically disagreed and the film started before I could interject and call bullshit on the P.I. guy, so I thought I’d make my points here and see what Lineout readers (and Stranger staffers) think.

You can judge form, technique, and other structural aspects of any band/song/musician; but to me, articulating the more abstract and esoteric aspects of music is the most challenging and essential task of a critic. Accurately communicating the transcendental moment of a song, a moment that could be entirely encapsulated in a brief handclap or arpeggio is much more specific and subjective than the way I feel film is popularly experienced. To generalize very broadly (in the footsteps of the P.I. writer), since so much success in film follows a reliance on the successful execution of a narrative— purely subjective aesthetic experiences are on a much more equal footing with the parallel track of judging form/technique. More simply, I think there are many more things to evaluate in film (acting, camera work, dialogue, etc.) that can be much more discretely measured whereas writing about music is largely writing about a particular feeling evoked by a song or band.

So Lineout-ers, how easy is it to dance about architecture?

Live Prison Sex

posted by on August 30 at 1:29 PM

Who went to Tool this weekend? There are some fan reviews here, but I’d love to hear from any Line Out readers in attendance—especially anyone who got there in time to catch Isis’s opening set.

This Week in Music News

posted by on August 30 at 11:51 AM

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Yes drummer Alan White is planning on bringing his 1971 Imagine kit (pictured above) to the John Lennon Jam show this Friday, September 1 at the Greenlake Public Theater/Bathouse.

Aerosmith bassist Tom Hamilton is undergoing treatment for throat cancer.

Bruce Springsteen denies rumours that his marriage is in trouble.

…And You Will Know Us By The Trail Of Dead are feeling conflicted about their future, but still looking forward to a new record and a potential tour with the Blood Brothers.

The toilets from CBGB’s will be moving to Las Vegas, something that’s gross on a variety of levels.

The Polyphonic Spree is covering a Nirvana song on their forthcoming EP.


Tuesday, August 29, 2006

Basic Channel In America

posted by on August 29 at 5:36 PM

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Basic Channel: Dub to dub you, baby

Hold on to your pacemaker, Charles Mudede: Basic Channel will be touring briefly around the U.S. very soon. The German pioneers of minimal dub-inflected techno, Basic Channel (Moritz Von Oswald and Mark Ernestus) are playing three dates (Aug 31 in Chicago, Sept 2 in Long Island City, Sept 3 in Detroit [of course]). I won’t be able to make it, but if anyone out there goes, do let us know how it flows. If you’ll excuse me, I need to get Charles’ nitroglycerine pills.

UPDATE: A friend in Detroit who’s seen Basic Channel (AKA Rhythm & Sound) says they’ll probably be spinning reggae 7”s and not playing their own techno tracks. Nice work, if you can get it.

Gig info after the jump.

Continue reading "Basic Channel In America" »

What to do Tonight

posted by on August 29 at 4:46 PM

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According to Stranger contributor Chris McCann

OSCAR PETERSON (Jazz Alley) Oscar Peterson is only one of the best jazz piano players ever in the history of the world. And at 82, the man is just coming into his prime. Peterson learned from listening to Nat “King” Cole and Art Tatum, and later played with everyone from Louis Armstrong and Ella Fitzgerald to Count Basie and Stan Getz. To watch him hunch over that piano and wrestle with it is a goddamn thing of beauty. You’re sorry you never got to see Bud Powell or Bill Evans or Thelonious Monk? Then don’t you dare miss out on Oscar Peterson. CHRIS MCCANN

The Stranger Seeks Music Intern

posted by on August 29 at 12:36 PM

The ideal candidate is: reliable; detail-oriented; knowledgeable and enthusiastic about many styles of music (or eager to learn); creative with the written word; available for 8-10 hours a week, preferably on Thursdays and Fridays; ready to start in September.

Tasks include: compiling weekly gig info for our Up&Coming pitch lists; fact-checking our Up&Coming previews; writing Up&Coming previews (if you prove you have the skills); maintaining the accuracy of our Club Directory; helping to research stories; pitching story/review ideas (if you’re ambitious).

UPDATE: This position does not pay, but it can lead to writing assignments that do.
We’d like to have the new intern start by the second week of September at the latest.

Please send a resume, a cover letter, and a writing sample to music@thestranger.com.

Eddie Spaghetti’s Top Ten Overrated Bands

posted by on August 29 at 10:51 AM

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The Supersuckers mailing list is a thing of joy. Evil, and joy. Every message from Eddie and the boys inevitably includes something that makes me cackle. Their latest is no exception, featuring, as it does, Eddie’s Top Ten Overrated Bands Of All Time:

The order may be a little off, but it’s damn close.

1. The Doors
2. The Velvet Underground
3. Radiohead
4. R.E.M.
5. U2
6. Coldplay
7. Kiss
8. The Beatles
9. Dave Matthews Band
10. Tiger Army - no, I’m kidding! They’re FAR from over-rated, they just suck. (I dunno why they’re my new favorite whipping boys. It used to be that Sully guy from that heavy metal band whose name I can’t remember). 10, unfortunately, has got to be Pearl Jam. Or the Red Hot Chili Peppers, I’m not sure. At least Eddie Vedder can sing!

So… now you may discuss. This list in no way means that a band is no good (although The Doors are clearly that) and I actually like some songs by bands on this list, I just think these bands are all held in such high regard that their music to merit ratio is WAY out of whack. There could also be a more current version featuring bands like Modest Mouse, The Yeah Yeah Yeahs, Death Cab For Cutie, My Morning Jacket, etc. But we can do that later. I also left off a lot of these “jam bands” that are way too popular for their own good, (You know who the guiltiest ones are), because I admire their D.I.Y. work ethic. (I had to include Dave Matthews though because I see him occasionally at my local coffee shop and we’ve needed something to talk about for awhile now.)

But just to show that man cannot subsist on a diet of anger and distaste alone, he also takes time to list his Top Ten American ROCK Bands of All Time:

1. The Ramones
2. C.C.R.
3. Tom Petty & The Heartbreakers
4. ZZ Top
5. Van Halen
6. Aerosmith
7. Cheap Trick
8. Replacements
9. X, The Pixies, Zeke, Zen Guerilla, Nirvana, Dwarves, Supersuckers, The Hangmen, Lazy Cowgirls, Mick Collins (Dirtbombs, Blacktop, Gories) The Upper Crust, etc…
10. The Rolling Stones

9 was hard. I sort of crammed all my faves in there (and I think Nirvana may be number 11 on the over-rated list. They suffer from being over-rated AND influential which kind of goes hand in hand, I guess). I realize also that the Stones are not from America, (just in case you thought I lost my mind) but it seems like they deserve the “honorable American” status to me. Like when you give some dumb actor or musician and “honorary doctorate” at some university or something.

Considering that the Suckers titled their own 1999 Sub Pop best-of album How The Supersuckers Became The Greatest Rock and Roll Band in the World, the fact they only come in at #9 (and in the company of X and all-things-Mick Collins) is a shocking display of modesty.

I Could Think of Worse Things To Do With Your Money

posted by on August 29 at 9:12 AM

The owner of New York’s Love nightclub is reportedly a hedge fund gazillionaire type who fell in love with house music and set out to create the best sound system in town.
Given that most hedge fundies sip through their millions at bottle service clubs “ a curious and frightening NYC innovation that I’ll tell you about later “ I wholeheartedly support the ones who blow it all on amazingly good audio gear.
I got a last-minute invitation to play there this past Saturday, and given the short notice and the early set time I was guaranteed no crowd whatsoever. But the setup is the most technically sophisticated I’ve seen in 13 years of performing, and the crew were friendly and enthusiastic, so the lack of an audience quickly became a non-issue. When in doubt, geek out.
They wouldn’t let me take pictures of the setup “ I shit you not “ but let’s just say that it’s Starship-Enterprise sophisticated and roughly the size of the bar at the Baltic Room. If I’d thought to bring my old reel-to-reel tape edits, I could have played them on the best gear available. The booth monitors alone have twice as much EQ and crossover muscle as most systems I’ve played on. My records, had I brought them, would have been in the care of tonearms that cost more than a decent late-model Volkswagen. It’s the kind of thing Paul Allen would have built if he was as enthralled with disco as he is with rock in all its forms.
To prepare for my one-hour set, the sound crew and I spent one hour and 25 minutes soundchecking, running from booth to floor and back to make sure the kicks kicked just right, the highs shimmered, the mids knocked, and so on. Then we did the same thing all over again to make sure the booth monitors “ which rivaled most Seattle clubs’ main-room systems “ did just the same. Then we did it all one more time to make sure the monitors and the house sounded identical enough that I could EQ properly.
All this so I could play for a near-empty room.
But I have to say, it was a whole whack of fun pushing that system to its limits, discovering stuff about my own music that I’d never noticed, and fine-tuning every last detail to get ready for my real gig of the week on Wednesday at Mr. Black, which I await eagerly “ I will be playing a headlining set for the gays, who are widely known as huge fans of dancing to dance music. Strange but true.


Monday, August 28, 2006

A Spin On The Carousel

posted by on August 28 at 3:52 PM

I only caught a slice of Carousel Fest on Sunday, but the bit I witnessed was fantastic. Props to the Seattle DIY.com collective on organizing an event that combined fresh music, practical workshops (including a smart presentation by The Bikery), as well as idealism and ethics in an engaging way. My personal highlight was catching Portland band, The New Bloods rock the living room on 20th and Pine. The trio flirts with no-wave sounds and eschews guitar in favor of violin providing an interesting sinew and texture to their melodies and rhythms. These ladies from PDX will appeal to devotees of Erase Erratta and Sleater-Kinney fans going through withdrawal.

While I would’ve liked to catch fellow Oregonians Wet Confetti at Carousel Fest on Saturday— I was more than happy to be attending a wedding on Orcas Island (congrats Bill & Sarah), where the nimble gypsy jazz of Michael Horowitz provided the soundtrack to a gorgeous waterfront ceremony. In 2002, a Fulbright Scholarship took Horowitz to the Netherlands to train with Sinti Gypsy jazz musicians in traditional techniques that have rarely been shared and taught to outsiders. Since then Horowitz has been running Django Books and written and published numerous books along with jazz colleagues Greg Ruby and Andreas Öberg.

Now if only I hadn’t left my digital camera on that damned beautiful island, there might be some pictures to accompany this post.

Drive Well, Sleep Carefully

posted by on August 28 at 1:35 PM

Since their 1997 inception, Seattle’s Death Cab for Cutie have played community centers to only a handful of people, traveled the nation numerous times in a cramped van and slept on stranger’s floors while on tour. In more recent years, though, the band has also played on Saturday Night Live and Letterman, been nominated for a Grammy, and signed a major label contract with Atlantic.

Their story is the epitome of local boys done good.

Their DVD, Drive Well, Sleep Carefully: On the Road with Death Cab for Cutie, though, isn’t about any of that. Instead of portraying the band as the Little Engine that Could, and rubbing their success in everyone’s faces, director Justin Mitchell instead portrayed Death Cab as a real, still very hardworking band, who just so happen to also be an indie-rock phenomenon. But you wouldn’t know it between the band members’ jokes about Lord of the Rings and childhood dreams of playing shortstop for the Mariners.

The behind-the-scene and interview footage isn’t even half of it, though. The majority of the film is live footage from shows on the road (including stops in Texas, Arizona, and Jersey), and all the performances are sparkling and crisp. It’s understated, simple, and stunning, as it’s shot entirely on 16mm film. Really, it’s one of the better band documentaries out there (unless you’re into that whole rockstar doing coke of boobies thing, but if that’s that case you probably don’t like Death Cab anyways).

Drive Well, Sleep Carefully will air tonight on Starz Cinema at 10 pm. The documentary kicks off Starz’s montly independent music series, Musaic, which will also feature Low in Europe, Gigantic (documentary on They Might Be Giants), Saint Etienne Presents Finisterre, and more. Check www.starz.com for more information.

Journey to the Center of the Maggot Brain

posted by on August 28 at 12:34 PM

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#1 with a bullet: unlikely huntin’ buddies

Reading an interview keyboard legend Bernie Worrell in the new issue of Wax Poetics, I learned that George Clinton and Ted Nugent would often go hunting together in the late ’60s/early ’70s. What I would give to know what those madmen talked about while filling critters with lead. “Atomic Dog” vs. “Cat Scratch Fever”fight!


Sunday, August 27, 2006

Your Bleepin’ Electronic-Music Epiphany

posted by on August 27 at 4:46 PM

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Avant-disco pioneer Giorgio Moroder

What turned you on to electronic music? Which artist, track, live event, mix tape, and/or experience flicked a switch in your mind and made you want to explore the rich expanses of music made with synths, drum machines, computers/software programs? Particularly in America, it takes more digging than usual to discover the good stuff and become a connoisseur than it does to get into rock and hiphop. I’m especially curious about how young people now are getting into electronic music when so much of the social/cultural machinery seems to be geared for producing citizens who like rock and mainstream rap. Conversely, what electronic track, artist, event, experience, etc. made you say, “Fuck that noise” and give up on pursuing it?

My own story: hearing Hot Butter’s cover of Gershon Kingsley’s “Popcorn” on TV in 1971 got the ball rolling, intriguing the hell out of my 9-year-old mind and repeating inside of it as if on a loop. Edgar Winter Group’s tumultuous rock instrumental “Frankenstein” had an amazing analog-synth freakout interlude that totally captivated me whenever I’d hear it on the radio in the early/mid ’70s. Then Giorgio Moroder’s 1977 productions for Donna Summer’s “Love to Love You Baby” and “I Feel Love” enraptured me. Kraftwerk’s “Trans-Europe Express” also hit my sweet spot. Reading the NME in 1979-80, I got turned on to synth-oriented groups like Cabaret Voltaire, Soft Cell, the Normal, Suicide, Depeche Mode, DAF, and Liaisons Dangereuses. Listening to Detroit radio’s Electrifyin’ Mojo in the late ’70s/early ’80s hipped me to those early Juan Atkins/Cybotron tracks like “Alleys of Your Mind” and “Cosmic Cars.” It’s been full speed ahead for Segal ever since.

And you?

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Edgar Winter Group LP w/ “Frankenstein”

Snakes On A Soundtrack

posted by on August 27 at 2:50 PM

I got Snakes on a Plane: The Album in the mail the other day (don’t ask), and was stupidly shocked to discover that such a thing actually exists. But this movie was always more about marketing than film, so of course there’s an album. And it is, as we say in the industry, a mutherfucking shame.

Tommie Sunshine plays Samuel L. Jackson, a respected veteran of his medium phoning things in on an obviously doomed project. The plot is a standard Die Hard hostage situation with Tommie Sunshine (and some other passengers/producers) trapped on a remix/soundtrack record onto which some record executive villain has snuck some embarrassing CGI snakes. The snakes are played by various shitty corporate nu-emo (not to be confused with Neumos) bands such as Fall Out Boy, Panic! at the Disco, and The Academy Is… (what is with these guys and the extraneous punctuation?!?).

So, yes, Tommie Sunshine tries to kill some snakes, but the album still crashes and burns in the end. His dependable prodcutions ultimately fall apart the second some multi-tracked vocal whine cuts in courtesy of these bands’ interchangeable mall-goth frontmen. And that’s the basic failure here, a workable genre (hostage movie, electronic/remix soundtrack) felled by bad casting (CGI snakes rather than real animals, CGI bands rather than decent musicians).

I am sick of these motherfucking snakes:

On this motherfucking plane: