Man about town and total busy body and sometimes Stranger contributor Kenneth M. Piekarski is always recording stuff (when he's not doing ten other things). Last Tuesday, he recorded Dylan Carlson at the Ballard Sonic Boom. Reap the rewards here (.zip).
They practice witchcraft to harness their power
Pedophile rape lil kids for energy
The Satanic rituals; W.T.C. (R.I.P.)
They let the Pentagon on fire
That's lighting the pentagram on fire
All these bodies for what?
So you could scare everybody into one world huh?
I'm not on some bring '94 back shit here but you can go ahead and be excited about Flocka, or Travises Porter and Barker—but don't you sleep on P. HOW DARE YOU QUESTION HIS TREND SETTING, LOOK AT WHAT HE BROUGHT TO THE TABLE. I might just blog a fuckin' Prodigy video a day until he's home.
This clip already has appeared on a number of blogs, so forgive the lateness, but it deserves your immediate attention. Based on an idea by George Manak, the video is painstakingly edited by Peter van der Ham and features Angie Dickinson pummeling Lee Marvin in the film Point Blank to the rhythm of composer Steve Reich's Clapping Music. It's absolutely mesmerizing, and Lee Marvin makes for a helluva drum. This is a superior example of scavenging one art form to create a phenomenal work in a different medium—sampling and détournement at their finest.
Or should I say what happens when a Rolling Stones cover band called The Rolling Stones plays a sold-out show DRESSED AS SAILORS? Whatever the details, it was wild. I also just recieved this text message:
"I heard a girl got taken away in a cop car, pete got punched in the face, & I'm in hospital w/ a broken hip. STONES!!!!"
more photos after the jump...
Who is Brian? This is Brian ------------------>
He is the tech master here at the Stranger. He listens to techno. I told him that I was sad about missing the solo Ted Leo show on Friday and he asked me what Ted Leo sounds like. I played the first 30 seconds of "Me & Mia" for him and he said "This is Ted Leo? It sounds like everyone else! You might as well have watched the Gin Blossoms." Then he started singing the chorus to "Found Out About You."
BRIAN IS EVIL.
As you already know by now, there's apparently only one show worth hitting up tonight, and I'd suggest getting to it on time. Florida's Mike Diaz aka Millionyoung plays second after Speaker Speaker, and he's totally worth catching. I can't speak to his live show (though I've heard it includes a backing band of masterful studio musician-types), but his Replicants album is still sitting well with me.
At a time when many chillwave musicians are moving away from that summery sound, and critics are moving away from that loaded term (Ian Cohen's review of Toro Y Moi's new LP Underneath the Pine never once uses the word "chillwave," opting instead for "[escapist] home-made electro-pop"), Diaz is embracing the latter and—to my knowledge—not making a fuss about the former. It's all for the best, as Replicants stands as a sterling example of how to work within the (fairly ambiguous) constraints of a snark-beset sub-sub-genre. If you thought Underneath the Pine "under"-whelmed in the funkiness department, give Replicants a listen, or groove along to "Easy Now" at Neumo's tonight.
But then the question becomes: What do you consider to be essential? The answer is painfully vague—I know essential when I hear it. And the new Johnny Cash collection, Bootleg Volume 2: From Memphis to Hollywood, is probably the most essential Johnny Cash collection I've listened to in a good long while. You get a few minor quibbling demo cuts on this two-disc set: I don't think the unpolished "Get Rhythm" is especially compelling, for example. But an early cut of "I Walk the Line" sounds haunting, spare, and, well, old. It's a peek at the folky roots of Cash's signature song, something that wouldn't be out of place on Harry Smith's folk anthology, and hearing it improves my experience of enjoying the song. I'd call that essential.
In a few charming interstitial bits, Cash hosts a live radio show and urges his listeners to send in cards with requests for upcoming shows, promising that if he doesn't know the songs, he'll learn 'em. He sounds a little desperate, and humble, and happy to have the opportunity to be playing music for any amount of money. There's also a commercial in which Cash promises that "even without air conditioning, you can make your home several degrees cooler this summer" with the help of aluminum awnings for sale by his show's sponsor. He's not an especially slick pitchman, but that helps with the pitch.
Out of 57 tracks on Bootleg 2, more than half are excellent and most are illuminating. You can hear Cash trying on different sounds, different personas, in an effort to find an audience. Sometimes, he's a cowboy singer. Sometimes, he's got a bluesy growl. But he's always storytelling, and no matter how he's experimenting with his sound, he always believes in the story. It's weird to hear a Johnny Cash who isn't on sure footing, but it's surprising to hear how much of what he became was already there, mixed up in his ingredients seemingly from birth. This isn't a set for true fans only; it's for everyone who likes Johnny Cash.
My LA darlings Jail Weddings have a new video up for their song "What Did You Do with My Gun." Just kids having fun:
This is a latest in a series of videos for their songs from Love Is Lawless. I asked Gabe Hart, the mephistopheles/band leader of Jail Weddings, why they were recording a video for every song.
Good to hear from you man! The impetus for the video series was sort of effortless... We posted a bulletin asking if any directors out there wanted to film another video for us, and the response was so overwhelming that we decided to utilize them all!
And here's a live video:
Jail Weddings says they're coming up this way—probably to the Comet—this April.
Audrey Marrs Won an Oscar: From Bratmobile and Mocket to the Academy Awards.
Speaking of the Oscars: Trent Reznor won, too.
Shocking: Lady Gaga continues to say crazy shit.
Want to Hear the New Mountain Goats Album?: NPR has it!
American Idol Has Some Competition: NBC's The Voice will be judged by Cee Lo Green and Adam Levinzzzzz.....
Line-Up Change: Dave Pajo has left Interpol.
And look! The Walkmen have a new video for their song "Orange Sunday":
KEXP Dj and Audioasis Producer, Sharlese Metcalf, went to Waka Flocka Flame at The Kingcat Theatre this past Saturday as a Line Out special guest contributor and wrote the following review. (Here’s her latest KEXP Podcast ‘Space is the Place’ free for your downloading pleasure.) Take it away Sharlese:
(UPDATE: Pictures courtesy of Suave Entertainment and Stries Casallo.)
“I never thought I’d have a reason to go to The King Cat Theatre (located east of Belltown) but there I was, waiting in line to enter the theatre for Waka Flocka Flame. Lately he has been in high listening rotation and I couldn’t wait to hear the repeated “Waka’s”, “Flocka’s”, and punchy “Boww's” out loud, in person. I was also interested to see what the crowd would be like. Who would I share this Waka experience with besides Seattle Times writer, Andrew Matson, who I was with.
We walk in and there’s mass excitement in the room. We’re all there for Flocka. I was looking forward to seeing Frenchie, MEEZ, Sunny Red, and BAYB as well. The King Cat has a nice stage. The room is the perfect size for an intimate style of show. The floor was cleared and in the back there was seating. The DJ was fantastic, spinning dirty jams. He had the crowd content and happy considering that between the openers ending and Flocka coming out on stage, there was at least an hour of anticipation. At one point I felt myself wanting to riot or at least start some sort of “Flocka” chant. I also began spacing out and reflecting on the environment of the show. I realized that most of the time I’m the black girl at a rock show but here, I felt like a white girl at a hip-hop show.
There was lots of booty shaking on stage. The ladies were getting on stage and shakin’ it for the crowd. The room was ready to attend the “Grove St. Party”. After the long hour of waiting, we get the question “Are You Ready?!?” The crowd screams and lights start flashing and Flocka bounces on stage. At that point, I was so excited I didn’t really know what to do. So I stood up and beamed. I’m sure my face looked like a twelve year old girl seeing Justin Beiber for the first time in person. It was a mushy look I’m sure, but I didn’t care, I was in the same room as Flocka! I don’t remember the first song he started out with but again, I didn’t care, I was in the same room as Flocka! As he was on stage, with the ladies going crazy, he was fully aware of that, and at one point dropped his pants and asked a lady “Is this what she wanted?” I’m pretty sure it was. Throughout the show he also gave advice to the crowd, one that stuck out to me was, “Don’t get married till your 30.”… I’m 32.
The crux of the matter:
Sky Saxon, the singer and songwriter behind the 1960s garage-rock band The Seeds, died in June 2009. However, for most of his career and to the end of his life, he received no royalties at all from his record company or his music publishing company. The reason? According to those companies, Saxon sold his artist’s and producer’s royalties in 1973 for $350, and his music publishing royalties for $250. Despite repeated requests over the years from Saxon, and, recently, his widow, the companies have flatly refused to pay any royalties at all, and the matter is now in litigation in the Los Angeles Superior Court.
Sounds like another familiar story of a young, scatterbrained musician being taken advantage of by unscrupulous music-biz execs. One does wonder, though, why action wasn't taken sooner.
Anyway, you can read the rest of the press release—which alerted me to the indignity of “Can’t Seem to Make You Mine” being used in a commercial for Axe Body Spray—after the cut.
Now please listen to one of the Seeds' hardest nuggets of garage-rock badassitude and instantly feel pumped to the max on good old-fashioned adrenaline.
The video for Ayshay's "Warn U" (from an EP coming out soon on TriAngle Records) contains much to love: what sounds like a late-period Cocteau Twins ballad magicked into gold silk by Coil ca. 1999-2000, dreamily distorted vocals, feathery gothic dread, strange architecture, kinetic geometric shapes, mystique-laden figures, fisheye lens shots of an elevator, and, most importantly, luscious lips. It's all very intriguing and amorphously seductive.
J-j-j-j-jitter bug-g-g-gin'....'60s style.
Such a weird track from a bit of an odd group, it jumps from a speed induced freakout to a Doo Wop ballad. I always thought they were taking the piss, like as a band. The vid is a promo for their Orgasm LP...uh, dig the tears, man!! Marc Bolan was later in this band, tho' I'm not sure he did much to save 'em. The Bolan penned JC track "Desdamona" did get banned from the BBC 'cause of the "Lift up your skirt and fly" line!
Me: Can I order a sandwich to go?
Sandwich Person: No, you are not welcome here.
Me: Eeks, why?
Sandwich Person: You wrote something really terrible about this place and the owner is very mad.
Me: Who, me?
Sandwich Person: Yes, he is very mad.
Me: Really? You're banning me from the sandwich shack?
Sandwich Person: Yes, and I suggest that you leave. (getting mad)
Me: Really? Are you being serious?
Sandwich Person: Yes, I am very serious. (getting madder)
Me: Really? I am being kicked out of the sandwich shack?
Sandwich Person: Yes, I suggest that you leave immediately. (getting maddest)
With that we left, while half laughing. I couldn't imagine what exactly I could have written that was so bad, bad enough to get me kicked out of the sandwich shack. Soon after, I did remember what I said about the sandwich shack. It was really bad! They shouldn't allow me back in that sandwich shack! At first I argued that perhaps they shouldn't let Caperin' Derek into the sandwich shack, but indeed, real life Derek shouldn't be allowed back in the sandwich shack. Fictional Mariners-era Rollie Fingers loves sandwiches, and he will also no longer go to that sandwich shack.
Please help this dude find them.
Thanks for looking at this post. These guitars were stolen out of my car in the university district of Seattle on Sunday morning between 02:15am and 03:30.
h/t: ?uestlove's Twitter, which sez: "hmmm. "come as you are" anyone? nirvana digs in the crates."*
"Come as You Are" after the jump
*The twenty-years-ago me would have absolutely no idea what any of this meant.
Deadline Hollywood has the scoop:
[David ] Krumholtz, repped by CAA and the Collective, is developing Igotchaback, a half-hour single-camera comedy for FX based loosely on the lives of legendary rap artist and Wu Tang Clan founding member GZA and his publicist Heathcliff Berru. The project, which Krumholtz is executive producing with an eye to star, centers on an up-and-coming music industry manager tasked with representing an aging rap star mired knee-deep in existential crisis.
As Prefixmag points out, this is basically Curb Your Enthusiasm with GZA. And the week just got infinitely better.
The Concretes, MillionYoung, Speaker Speaker
(Neumos) This bill will become more soothing—or less interesting, depending on your mood—as the evening wears on. Local kids Speaker Speaker will kick around the stage with their spazzy pop-rock. MillionYoung will play their groovy reef-rock (which always sounds to me like what aliens would play at a beach party in Mexico). Then the Concretes, those lovely Swedish sirens, will sing their soft disco lullabies. Has Neumos considered providing cots at the back of the room for naps? BRENDAN KILEY
More music here.
So, I finally watched Gaspar Noe's Enter the Void (it technically came out in 2009...stoner fail, I know). While visually sumptuous, I feel like the sound design and score played as big a role in creating the film's pervasive sense of tripped-out discomfort as did its neon-soaked tapestry of stitched-together one-takes (we've come a long way from Rope, film nerds). I was surprised to learn that the role of frequent Noe collaborator Thomas Bangalter (Daft Punk) in creating the soundtrack was a minor—if crucial—one. Noe to The Playlist in the fall of last year:
"I proposed him to do the music but he could not do it because he was already working on the music for Tron: Legacy, the one that's coming out soon. He said, 'I will not do the music, but if you want, I can do lots of sound effects for you,' and then you mix and match what you want. So what happened, is that he would work for a few days creating sounds, and then he gave the sounds to me and I mixed it in with pre-existing experimental music from other people, I also added some music that we bought from different bands."
What struck me most about this discovery was the breadth of the huge disparity between Bangalter and Guy Manuel de Homem-Cristo's Tron score and the Enter the Void score. One is uncharacteristically innocuous electro-orchestral bombast, and the other remarkably subtle and effective. I'd venture to say Bangalter's work as "curator" and contributor to Enter the Void surpasses Tron: Legacy's hit-or-miss swells and synth-scapes. Wikipedia has more dish on the Enter the Void soundtrack, if you're interested. To my knowledge, it doesn't appear to be available for purchase or download anywhere. Tron: Legacy is due out April 5th on DVD and Blu-ray and, obviously, I will not be purchasing it.
Previously: Daft Punk - Tron: Legacy album review.