glass candy are doin thr soundcheck, n it sounds good!!!
Glass Candy, Chromatics, Ononos, & Mike Simonetti play tonight, Chop Suey, $10, 21+
Man, I don’t give a damn what you all want to hear. You booked me on the strength that I play music that I love and I must be doing something right cause the parties are popping. [...] So when I get on the turntables, I drink, I talk my shit and I’m not going to be typical at all. You’re going to hear Dilla, Guilty, Danny Brown, 14kt, Marv Won, and hell, you might hear the theme song to WKRP in Cincinnati.Maaan, I happen to love that theme song: "maybe you and me were never meant to be/but baby think of me once in awhile". Anyway, this is sure to be a good time, fully stocked with the Town's hiphop luminaries enjoying themselves.
A recent survey determined the top ten songs most likely to make a man cry, and the list is wholly predictable:
1. R.E.M,"Everybody Hurts"
2. Eric Clapton, "Tears In Heaven"
3. Leonard Cohen, "Hallelujah"
4. Sinead O’Connor, "Nothing Compares 2 U"
5. U2, "With Or Without You"
6. The Verve, "The Drugs Don’t Work"
7. Elton John, "Candle In The Wind"
8. Bruce Springsteen, "Streets Of Philadelphia"
9. Todd Duncan, "Unchained Melody"
10. Robbie Williams, "Angels"
No love for slowcore? Phil Collins? Indie rock, generally? And shouldn't Sinead O'Connor be at least a little higher on the list?
DJ Verse, Line Out's own Dean Fawkes, and other guest selectors will bust out the Big Beat anthems as well as treasures from other electronic-music genres that flourished in the '90s at the Living Room Sun. Oct. 4. This is billed as a one-time-only event, but, honestly, I wouldn't mind if it became a regular thing. It's been too long since I've heard the Headrillaz in public...
Tyler was nice enough to cover this show for us last Friday. He even bought a disposable camera (his equipment was stolen at Sasquatch, see more of his work here), and they came out nice anyway. My lazy ass just got around to posting it today, so if anyone deserves shit for posting it almost a week after the fact, it's me —Grant
Metal Chocolates are an experimental outfit comprised of producer OC Notes (who collaborated with THEEsatisfaction on the Christmas on the Moon EP), and emcee Rik Rude (the latter of Fresh Espresso). I had a chance to talk to Rude before the show, and he said they're going for a psychedelic and more artsy feel than traditional hip hop. They stray away from a verse/chorus formula and stay open to lots of topics and sounds and textures that you might not hear in their other projects. Rude's delivers lyrics for "Peanut Butter Raspberry," in a stream-of-consciousness manor—sometimes you wonder if even he knows what he's talking about. Either way, it likely won't matter once you're hypnotized by OC Notes's jazzy, spaced-out beats and production. They've been working on their debut record for some time, and they finally decided to give Seattle a taste at their first show at the Highline last Friday.
They opened with the operatic "High Tea," pouring tea into little cups from an antique sterling-silver tea kettle while rapping. Rude was wearing a velour jogging suit yelling to the crowd "What you doing? Who you be? What time it is? High tea!" The dreamy and melodic "Opium of Love" was a highlight for me. It's one of the few tracks in which OC Notes steps out of producer mode and lends his vocals to the hook. He raps with subdued cadence and claims to be a "psychedelic casualty of love" while the phrase "sugar on my tongue" (borrowed from the Talking Heads) swirls in the background.
They both seemed focused and well-prepared for their debut performance. Rude oozed confidence and had electric stage presence, while OC Notes seamlessly handled producer responsibilities. I look forward to seeing where this project goes, and I hope that having a great first show will encourage them to play out more.
"Icing," from the Christmas on the Moon EP
Metal Chocolates play Black Lodge on October 28th.
See a few more pics after the jump.
It's hard to explain exactly how this came to be:
But I give a shot, right over here.
Wild Steve is an internet personality brought to my attention via the Bridge Nine Message board — a place where chronic masturbators and hardcore nerds (and me….) go to post pictures of their rare Judge records or, in many cases, nude photos of their ex-girlfriends/boyfriends.
Like every message board, it is used for both good and evil. Wild Steve is a little bit of both. This dude is the self-proclaimed “King Of Pennsylvania Hardcore” and is not afraid to scream it to the world on his now-net-famous YouTube channel. Don’t fuck with Wild Steve unless you wanna get “mooooshed.”
But the internet couldn’t leave this alone. As if the original videos of Wild Steve weren’t enough, he now has a theme song. Thanks Autotune! God damn, that's a catchy chorus.
Oh yeah, and feel free to give me a big ol’ late pass in the comments section on this if it’s been discussed around these parts before.
The show started in a bath of icy blue light, the eight musicians on stage in front of a huge scrim depicting overlapping freeway overpasses and, in front of the overpasses, a huge billboard. The new Arcade Fire record is a concept album about the suburbs, and the video images on the billboard kept changing. For someone who's ever spent any amount of time in the suburbs of southern California, the images were a perfect distillation of that vast California boredom—palm trees twitching in a digital breeze, endless highways and tunnels, kids on bikes in a generic cul-de-sac, wobbly swimming pool water. "The first bombs fell/We were already bored/We were already, already bored," Butler sings on The Suburbs' first and title track. The second track he sings about boredom some more, then adds, "All the kids have always known/That the emperor wears no clothes/But to bow down to them anyway/Is better than to be alone."
Early in the set, Butler said, "So it's been a while, thanks for waiting." Lots of crowd noise. "We've done a lot of tours where we played small shows so this time we thought, 'Fuck it, let's play a large enough room so everyone can come.'"
They proceeded to play a set that was, if you'll pardon the expression, fucking great. "You are killing it!" as the guy shouting behind me shouted. They sounded just like their albums, except live—that complex, wide-shot, always-building sound that gives you that rising feeling. They all clearly enjoy being together in the going-around-the-world-making-noise game, and they're all phenomenally good at it. In between songs, they kept changing what their job was—the number of people onstage would double (crew bringing out new instruments and relieving old ones), and Régine Chassagne would, say, go from playing keyboards and singing downstage (or sometimes rolling her body across the keyboard) to playing drums upstage, on a higher platform. At one point she grabbed two clumps of long ribbons and just sorta started flipping out. Looked neat.
She is a magical thing, that Chassagne, and her song "Sprawl II (Mountains Beyond Mountains)" is a magical song—it still has that stadium-appropriate bigness, but it sounds less like Arcade Fire and more like Blondie. And it's about the drag of bigness, the drag of the suburbs. Here are some of the lyrics:
They heard me singing and they told me to stop
Quit these pretentious things and just punch the clock
These days my life, I feel it has no purpose
But late at night the feelings swim to the surface
'Cause on the surface the city lights shine
They're calling at me, come and find your kind
Sometimes I wonder if the world's so small
That we can never get away from the sprawl
Living in the sprawl
Dead shopping malls rise like mountains beyond mountains
And there's no end in sight
I need the darkness, someone please cut the lights
"For the birthplace of grunge, you guys are pretty polite," Butler said late in the set, before thanking the crowd for the umpteenth time for coming, and then saying that $1 from each ticket for the night was going to Partners in Health to bring health care to the most rural reaches of Haiti, and adding, "Thank you, because that's your money." And then at the very end, just before they cut the lights, he said, "To see this many people come out to see our band is really humbling, so thank you. And we'll be back soon. Take care of each other."
Many more photos—including backstage photos—after the jump.
Thomas Hunter: "White China March"
Thomas Hunter: "A Vaguely Pregnant Piece of Nonsense"
Thomas Hunter: "Tinfoil Slip"
Walk me through the coming together of the song “White China March”.
Hunter: I wanted to write an experience song. It's about my lovely wife. And drugs of course. The first little thing sprouted out of the beginning of the Delfonics song, "Baby I Love You," and these Chopin guitar reductions I was working on. I wanted a pretty, classic, Stax-y, Isaac Hayes-ey feel in the verse with the strings and all. I took my time with the colors I was introducing. I wanted to take the build very slow. I know the form seems weird with all the starts and stops and feel changes, but it's what felt natural to me at the time. I wanted the second verse to be kind of like that Kinks tune "Sitting in My Hotel." Then I felt like a huge bridge with Zana from Thee Emergency doing The Dark Side of the Moon thing would be rad, especially if it went into a Zeppelin-y finger-picking thing.
Toward the end I say, "Disappear beyond the bricks and skin some silly God has built us in. When the clock-hand stops my blinded brain and heart begin to love you until the ground coughs up our bones. A pile of teeth will make a home for you and me alone." It's actually a line from my marriage vows. It's really reflective about how strongly I love my wife. She's my partner and my best friend. She's the only person I need in the world and it's us against everyone if it has to be. This is a very personal song to me. I'm really glad you chose this one to preview. It's the first track on the record. I used my beautiful Heritage Eagle for all the guitar tracks. I've spent more time with that instrument than any human being I've ever known, so It felt suiting for such a person tune. I used Phil Peterson’s old Frankenstein late '60's P-bass which has so much old character to it. This one has the amazing Bobby Parker on the trumpet, and some of Kyle O’Quin’s best key work I've ever heard. I close mic'd the fucked up little speaker on Tom Pfaeffle’s old blown out Wurly that’s at the Tank Studios and Kyle decided to absolutely destroy it. We did some super sci-fi theremin tracks at the end also. I’m excited to let people hear it.
Wild Orchid Children play Saturday, October 9th at The Tractor
Dro Carey, who comes to my attention via Friendship Bracelet. Doomy, uncluttered would-be dubstep with pitched-up helium vocals. FB has an mp3 of "Hungry Horse," which is recommended—if very weird—listening. Incidentally, I think the newly svelt Drew Carey is supposed to be on NBC's Community tonight.
The secret to his weight loss? Gotta be that dro, bro.
I know I'm not the only one out there who watches videos of insane metal drummers on YouTube. Bored? Stoned? Look up a video of Nile's George Kollias or, better yet, check out this song and pretend you're the one playing the role of Animal.
I can't find any videos of this dude, but damn, he's a beast. Here's newish (formed in 07) Italian death metal band Fleshgod Apocalypse's brutal rendition of the classic At The Gates jam "Blinded By Fear."
But that's all about to change.
Bang your head on the punk rock!
The first taste from Brian Eno's forthcoming Small Craft on a Milk Sea album, "2 Forms of Anger," is a grim, gritty slab of white-knuckled krautrock. There's not much precedent for this in Eno's vast catalog—maybe the thing it comes closest to is some of the more glowering, pressurized cuts on Nerve Net. Whatever the case, I'm seriously feeling this. (Jon Hopkins and Leo Abrahams get front-cover billing on the album, too.)
Small Craft on a Milk Sea comes out on Warp Records Nov. 2.
No, not these Chromatics, thankfully.
Oh yeah, one more thing, while I'm thinking about it...before they were know as the Alice Cooper Group, they were known as the Nazz (no relation to the Todd Rundgren Nazz) and as the Nazz they recorded this...
This track would end up on the first Alice Cooper Group album, Pretties For You, but this Nazz version kills the ACG version dead.
Check out this video of Jimmy Fallon and (sigh!) Justin Timberlake performing a medley entitled, "The History of Rap." That means RAPPING is involved. And for what it is, it's entertaining... but STILL! White guys! Karaoke rapping?
Well, what say you?
Tonight, Brooklyn band Coasting perform with Idle Times at the High Dive, affording me a small chance at quasi-blog-redemption. Last year, I unfairly savaged the Vivian Girls (also from Brooklyn), who were performing with Best Coast (also at the High Dive). Though I was served with an equally acrid tell-off from Vivian Girl Cassie Ramone, I’m still a little gobsmacked at the viciousness of my write-up. Hindsight, etc. Here’s the thing: I don’t honestly think there’s anything particularly offensive about The Vivian Girls’ music, it just never resonated with me the way it did for countless others. I “get” them, and I regret going so far with my dis, but I do stand by my right not to like a band (duh).
Coasting, as it turns out, shares a member with Vivian Girls—drummer Fiona Campbell (their former percussionist Ali Koehler now gigs fulltime with Best Coast)—and Coasting are a band I will happily effuse about, and not just as a criminally late stab at a mea culpa (Latin for "my bad," right?). Coasting’s choruses are tidal and enveloping, and their songs juxtapose post-punk urgency with the soppy, surfy guitar sounds that are all the rage these days. It’s a potent, hard-bitten take on the kind of coke-smeared decadence that JAMC take-offs The Raveonettes specialize in, divided by the accumulated force and power of contemporary DIY pranksters. In other words, good stuff.
I wasn't able to catch Coasting on September 17th, when they played with Grass Widow, Witch Gardens, and Broken Water, but I trust it was awesome.