Monday, 25 May 2009

yes, I would hang out with Madonna for a day

Something in the way you love me won’t let me be.

Not my words: the words of Madonna. Or whoever wrote them for her.

I know these words because I’ve been listening to a Flaming Lips’ cover, of the song Borderline, which I quite like.

I don’t want to be a prisoner so, baby, won’t you set me free.

I actually really like the lyrics. I like them more because Madonna did them first.

I get this sense of naivety which I find oddly earnest and which totally doesn’t fit with the rather epic end to the Flaming Lips’ version.

But it makes so much sense for the Flaming Lips to have covered this. The can’t-help-it-playfulness in the lyrics are there in everything Flaming Lips have done that I’ve heard (in fairness I only have Yoshimi Battles the Pink Robots. I’ve heard bits of other albums, although I can probably rest my case on that title alone).

I don’t know if they covered Borderline with a sense of irony (“Madonna cover” is inherently pretty lols) but I like to think Wayne Coyne has a total childhood sweetheart love affair going on with those 80s songs.

I also really like Material Girl by Madonna and it has that same sense of playful naivety from Borderline. I don’t know how these songs fit into her career in terms of time or style or anything and I feel like it would be wrong of me to be bothered.

I was also thinking about fashion. I think I really like 70s shirts but I can’t wear them because I’m not willing to fully commit to a 70s look. You can pull off a vaguely 70s tinged shirt or something and it can look damn good, but I’m not that high level on the fashion subtlety scale (which doesn’t exist – so I could never get there).

We had 70s shirts and perms and all that. We had 80s mullets and garish t-shirts and socks with tights and etc. Then we had that 90s minimalist thing which I’m not even sure existed. Now we’re back to that 80s stuff. Like an unimaginative mountain or lazy fashion chasm – one side mirrors the other. Are we about to see a resurgence of delicious 70s shirts? Please, God?

And italo disco is resurfacing, another icon of the 80s, blended into dance punk and house: It’s back, but we do it a little differently.

This could be good news for 70s shirts is what I’m saying.

Tuesday, 19 May 2009

Brotopia

I'm pretty sure everyone hates Animal Collective at least some of the time. I relistened to Feels a few weeks back, and it wasn't bad, didn't deserve to be the point I jumped ship, and I started to feel out the bromance of the Animal Collective sound.

Sufficiently well meditated, I present to you all a Bromantic Mix, more of a radio-style broadcast, romanticism without the romance, for yr hearty lols at my first ableton experiments. Because I love you, it's got fraternity, optimism, vocal harmonies, tenderness, gay guys freaked out by women, some obscurities&some favourites, all a little fragile. A lot of it just sounds like a string of fat handed mistakes to me but I guess my ambivalence about it is fitting considering how I feel about its inspiration. I've got a wav that sounds much better if anyone wants it, but otherwise, enjoy:

Wednesday, 13 May 2009

Magical Animals&Meaning In Real-Time

It's painful being clueless&confused. And one thing that can bring on cluelessness is NOISE. Maybe its the sound of confusion. Thinking about it can give you a feeling worse than 36 hrs of ear-ringing, which is exactly what I got from Black Dice (gotta be louder than yr support), especially if you think about its relationship w/ROCK. You might hear a demon tell you all noise has one true face, one meaning, one effect but you don't need to be arguing w/a purist to notice its differing pedigree&lineage. You can make noise yr rotting end or the sound of yr insemination (yum!), its all on YOU, and maybe was all about YOU from the start anyway, which is obv.the most painful of all. You could put it to song as "you look to find direction but all you see is yr reflection"&in fact someone DID,&they provided a good bit of theatre to start the night out. We were in a big old hall w/very sweet bar staff. Lianne had got in on the guestlist and had inspired me to take notes. Our opening act started hid behind the monitors giving nothing away but carefully propping up a faded cream baseball cap emblazoned thus:

EAGLES
WORLD TOUR 1994

As a background accompaniment to this focal point we get some shifty looping clicks which form the basis of a gradual layering up to a thin brassy sheen, a sort of formless anthemic nostalgia, which framed the EAGLES hat pretty well. The nostalgia breaks into a bright&slightly frightening haircut buzz which gets lost in the Bill&Ben/bath-fart gloops that have been bread&butter to a generation of noise bros, and some birdsong trapped in chewing gum.

Wide pan-out and bringing the sunset indoors w/bassy rumbles&cosmic ice cream van tones to invoke the same very excellent Caribbean scene heard at the end of Panda Bear's Carrots. Treating us to the grand finale now, the EAGLES cap surfaces w/battered electric guitar and solos over the waves into eternity, in a gesture of Rock Generosity to the audience, leaving us w/a warm glow of fretwork vapour-trails of the past. This is the end of rock though over-exposure, meaning impossible because all moves have been made so many times, filled up so much space, that they cease to be discernible. This thought cemented w/an epilogue where our lonely hero strums out a washed-out ballad for the end of (rock) time, singing "In a house full of meers/it's not easy to find yr way" and the prev mentioned direction/reflection musing. & the name of this act?: DUCKTAILS

W/no noise but treating rock as a live option, were Experimental Dental School, who were polite enough to thank us after every song&are probably devoid of vices. They are a lean DIY duo -rock sustainable as cottage industry- w/chops and a bit of mentoring from Deerhoof. All small scale enough that me not liking them doesn't seem worthy but of more import: their guitarist Jesse Hall's short trousers&general buffness hint towards possible transformation into Zell from Final Fantasy VIII(&they've just released their album for free).

I decided to spend my t-shirt money on more beer. Now able to pronounce Zywiec, Neil Campbell from Astral Social Club stepped us his game for this kinda immense London audience w/assistance from Tirath Singh Nirmala (whose beard was blamed by some serious guy behind me on the first of three buses home for spoiling his enjoyment of the set - ...) and other hairy British bohos, including a makeshift choir. My feet planted, Campbell does everything possible to assist me in having the best pint of my life, saturating everything with harmony to turn it into one moment of endless immediacy. I'm waiting for the heartbeat bass drum to enter and underpin and sure enough, when it comes in you can feel a wave of people getting on board all at once. A mysterious wave and the choir of cider-drinking longhairs appears to goof and churn out drones. Campbell's wailing, back-arched and completely at home in the world. "It never was nor will be since it is now" they used to say as solace for minds stuck in bodies w/an aptitude for suffering, now Astral Social Club show everyone the same trick.

Lvl 100 Beastmasters Black Dice navigate audience-agony by not-really-giving-a-shit, tonight manifested in turning out the lights and STARTING just like that. It is night time now&I'm light on my feet, the stage filling up w/foliage, flares belched up into the sky, a bandana'd&bikini'd silhouette giving a Queenly salutation, Mizaru w/sideways belly move and powerstaff artfully drummed for emphasis, Kikazaru behind curtain of hair & Iwazaru staring out like a shepherd w/statue's eyes.

For ease of control magical animals are introduced so that our livers and spleens will be overtaken with herd instinct and get to it. But they're easy on us, gently eliciting conversation between creatures and also deploying their recent trick of animal song. Only once do they bring out the cane, w/the bass part from Kokomo, and jesus - 200+ haircuts&pelvises rolling in time! This is ridiculous. I've finished another pint without noticing. I take a cruise to&from the toilet through a menagerie of livers and spleens and toes. Of course that arsehole on the bus home prefers listening to the records. Of course he does.

Here's an interview between Black Dice&Genesis P-Orridge in self-titled magazine w/recording through skulls and some first class anecdotes
Free jazz comes from theory? I don't know. Coleman certainly has some theories (he calls his system of organising musical material "harmolodics"; I know nothing about it, but the blending speaks of a desire to arrive at some sort of urmusic--something that deals with all the musical elements in a more cohesive way, dissolving the traditional hierarchies), but a lot of people say they're bullshit.

It came about naturally, I guess: a number of musicians were interested in bypassing the standard set-up to get to the heart of expressivity and interplay...something like that (consider the socio-political factors involved: the civil rights movement, Black Power, the rise of individualism).

I certainly don't see free jazz as a specifically cerebral music, any more than I see abstract expressionism as a cerebral art.

Tuesday, 12 May 2009

two thoughts

I enjoy writing for you babes here, or at least, I'm enjoying the writing as PRACTISE, like I enjoy shaking hands and my old boss enjoyed tweaking his phone-manner to perfection. For all the shit&agony inherent in trying to do (anything) this, we have here an academy, documentation&a home for our 2&1/2 posters to take part in dialogue, which actually seems (a bit) good.

So,
Ro's talk stoked a thought I'd had going that w/all our media diffusing the attentions of us musically-curious, even the quasi musically-curious and nothing to force our gaze... I mean with WEBSITES getting all friendly recommending us music amidst the ads and with everything suddenly free and immediately available you MIGHT have a think about the motivations of this whole process that let this come about. Not to mention human untrustables w/their unknown allegiances and mysterious hype and whole musical movements being suspect class and race wise, I mean SHIT, this could push a weary man's critical faculties enough so that they detach and undermine themselves&he end's up w/more than a knawing sense of doubt, watching the chunder of a process nullifying itself fall into his lap as he tries to pay attention to the support at a concert. :-(

COMING UP: historicist noise&rock debate in the forest

well jazz then

So basically free jazz comes from theory?

If we didn't have 12 bar blues or musical notation then free jazz couldn't exist?

But since we have all these systems which allow for loose improvisation, free jazz exists to kick against that?

Because then it's sort of a statement about that, isn't it? I mean movements in music...

Well alot of people, when it comes to movements and theories in art, have alot of big ideas. It should be done this way and that. In music people don't seem so drastically divided, like they're not trying to fix up one kind of perfect music to crumble all the others into submission. Except maybe Punk, they're really trying to kick against mainstream pop music and culture, perhaps the way post modernists are trying to turn away from modernism.

With that stupid point loosely made: what's the point in the stuff like what we saw on Saturday?

I mean I enjoyed it but if it's already been said why repeat it without adding anything?

I think I like free jazz

The thing I like about FREE JAZZ is the level of abstraction. There's no melodic material, no proscribed rhythms, no tonal centre (well, in this sort of Ornette Coleman/Cecil Taylor stuff), so you end up having to listen hard to things that are usually secondary. Most notably, I think, timbre--the unique sounds of the instruments involved.

Something I was saying to various of our compatriots on Saturday is how you have to meet the performers half way (maybe it's just me--I'm sure plenty of people enjoy it as a completely visceral experience). You need to work a little to tune in to the consciousness of the music, if you'll excuse the New Age-ism. Because of this, it's a music of long durations: the players need time to identify the space of the improvisation and their respective positions within it; likewise the listeners.

Treatise, a 1960s piece by the English composer Cornelius Cardew, helps to illustrate this notion. The written music consists of a 193-page graphic score, containing hundreds of undefined symbols (very few of them taken from traditional musical notation); some of the pages feature nothing but a few lines. His idea was that a group of improvisers, working from the book, would gradually figure out a taxonomy--a way of translating the visual material into a consistent, "architectural" performance--ideally without ever discussing it. The length of the piece was Cardew's way of turning this into an intuitive process: just keep playing from one end to another and it should happen by default. (I don't think it ever did.)

My one caveat, regarding Saturday's concert, was that the players seemed too eager to slip into a particular idiom that FREE JAZZ has mined from the off: pontilistic, wall-of-noise skronking. The second "set" ended on an eerie, atmospheric note; I was hoping that they'd continue playing in that vein for a while. Instead, they stopped, soaked up the applause, and leapt straight back into:

piano piano PIANO pianO! piAno? PIANOPIANOPIANO pianopiano
drums drums DRUMS DRUMS drumsdrums! DruMSDRums drums
SAXophoNE SaxophonesaxopHone! SaxophoneSaXoPhone

Monday, 11 May 2009

comebacks

So I heard Amy Winehouse had a fairly disastrous comeback gig the other day. But hasn't it only been like four months since she released something?

How can that really be a comeback? Or if it is are the Dirty Projectors etc etc, you see where I'm going with that already right? I mean the Dirty Projectors played 3 times in as many months last year, or something like that. I mean compare the level of impact this Amy Winehouse gig has had with the Led Zepplin comeback gig. Go on. Fucking compare them.

Is this a product of our society of instant gratification? Where if we aren't bombarded with constant shit we just forget all about? And where can I get some instant gratification? Apart from Spotify, obviously. Or the internet in general. What now hm?

Or was this just far, far too stupid to mention out loud?

Sunday, 10 May 2009

cross over blog post

Alun do you remember when we went to see that Free Jazz the other night?

It was quite good, wasn't it?

Except how good can Free Jazz really be? How good can anything really be?

I don't know. I barely know what I'm talking about.

I believe it was Evan Parker we went to see last night. He was playing saxophone. There was also a pianist and a drummer. The drummer looked alot like Skinner from the X-Files.


















They were all great musicians and I kept wondering how they'd play a more conventional type of music. If they were playing some regular, 4/4 jazz standard. How would they embellish their parts and etc, etc.

But maybe that wouldn't be a good enough exhibition of their skill. Maybe constant soloing, their free jazz, is the only adequate way for them to express their ideas.

But maybe that's just a way to develop good ideas. And now they have all these neat ideas (the pianist put a sheet of paper between the piano strings, the drummer played a cymbal with his hands on his lap) how can they fit them into a song?

Perhaps there's no appropriate way; free jazz is the only vehicle for their expression. It is the best way to fully explore everything they have. It is self serving.

This makes me think, sort of, about an upcoming game: Beyond Good and Evil 2. Recently "gameplay footage" or something was leaked. Here it is (watch in HD):



(no one knows if this is actual gameplay footage or a trailer or something fake, incidentally.)

The similarity is this: the setting looks really interesting, with alot of detail, a fairly dense population and a lived in feel. But free running in games, so far, has annoyed me greatly. It's like a distraction from what is generally not a very good game. It's alot of surface.

But maybe, with a world this detailed, that kind of free running is the only adequate way to see it all, to take it all in and feel a part of that world.

You see?

It's just it felt sort of ridiculous when the band stopped playing for a minute, we all applauded, then they started again playing basically the same stuff. Since it's all improvised we're just supposed to revel in their playing? I guess that's fine. They all seemed very amiable.

I guess I can sum up by saying that if I'd been standing I wouldn't have enjoyed it as much. As it was I was sitting and I could let it wash over me if I chose. But then there were bits that were interesting which I might not have enjoyed if I didn't also play the drums. As something emotional it left me cold, but as something technical it was great (although I believe their playing was rooted in emotion, I'm not trying to criticise here or anything).

There were alot of ideas I intend to steal to one day perhaps create something other than free jazz.

Or whatever.

Monday, 4 May 2009

buggin out

I want my reworked classics to be lighthearted, it's just more GRIST to play with. I don't know when rappers started copying parts of the rhymes from the songs they covered but I'm used to it, but a remade video is noo to me, and what with it being THIS video of all videos, I thought that made it worthy of our collective attentions. This is on the pretty great J Period Q-Tip mixtape which you can use yr smarts to find.

Not reverential, not cribbing too much, not recycling the more choice lines, not as good colour effects a full 18 years after the original wtf, not quite as charming in their goofing. But they're still goofing pretty hard, Cudi's got his skinnies on and even has a little go at the jerk dance (as best as I can interpret). Borrowed quality is still quality:

Sunday, 3 May 2009

Eugene Robinson talks about Fighting

I’d been building this gig up in my head for weeks, assuming it was going to be an evening of intense battle. I’d enter the room, the walls already drenched in blood, and a cage door would slam shut behind me. Immediately I’d have to face a pack of hyenas armed with my own arm which I’d have to sever just to get in (on top of the £5 ticket fee).

All I knew about Eugene Robinson was he was the singer in a band and he’d written a book, Fight, which he was coming to Manchester to talk about. I was certain I’d have to fight someone at this gig, either Robinson or a member of the crowd. No one else will be ready for this, I thought. I’ll sit there alone and when push comes to shove and some cretin tries to kick off I’ll break every bone in his face and walk out whilst Eugene alone applauds and says seminar concluded whilst, at home, I drink the blood of a lamb I just killed.

As may or may not be already clear: I have trouble assimilating violence into my “worldview”. I want to be a smart, noble, good guy. But I also want to throw a motherfucker through a table and I haven’t been able to reasonably marry these different approaches of style, which troubles me.

I wanted Eugene to have all the answers.

But I was also expecting him to be completely out of his mind, after a brief conversation with Tom about how I was going to go see him, Tom telling me he often appeared on stage in kind of nappy looking things, screaming whilst waving his dick at members of the crowd. Tom went to great lengths explaining the pun of “dick” and “members”.

Before Robinson began he asked if we could hear him without the microphone and I noticed this annoying hum coming from the speakers. I thought it’d be really jarring and bug me all night but as he continued with these melancholy stories I thought the hum would add a sense of poignancy in the moments of quiet. I got so sucked into the stories and the guy and I didn’t notice that hum at all.

By the end he wasn’t even using the microphone.

If I took any of the stories Robinson told us that night out of context he would sound like a complete psychopath. I never felt a direct threat from him though. He did seem distant during a couple of the more somber stories he told, involving his childhood, but he was eloquent, funny and just softly spoken enough to basically have me at ease.

He did tell us how he’d offended/threatened both members of the Manson Family and some kind of mafia and I began wondering if there was any way they could track him here and kill all of us in the room just to get back at him. That was a brief moment of uneasiness, but at the same time I thought I would have to kill a hyena that night, so what do I know?

Writing this article has been difficult, taken a couple of days and involved actual drafts.

This is partly because of my own view of violence, the main topic of the night.

It’s partly not wanting to retell Robinson’s stories, as I wouldn’t do them justice and I’d just be stealing his act.

It’s also because I just didn’t know how to take the guy. He began the night, sort of, talking about this. People are always asking about him.

Pointing out someone in the audience he said “I stayed with you, right? People ask you ‘how was Eugene’ and you said…”

“He was nice,” the guy replies. “Yeah he was nice, he was alright," Eugene continues, then he goes on to talk about this crazy fucking shit that he spent a long time doing, including working as a debt collector, flying round the world to threaten people. "I'm a nice guy," he says, "but maybe not a good guy."

It was more like an evening with Eugene Robinson than an analysis of the book, which is what I’d really been expecting. It was the background to the book, how Eugene came to be.

He told us these fucking crazy stories, really interesting, funny and well told and then we all applauded. It was exactly what I wanted but I left trying to figure out what the fuck to make of it.

Why was he telling us this stuff? What was he getting from it? And what were all these fat dudes and Haircut girls doing here listening to it? These are not fighting people.

It was like he was there as a spectacle: articulate tough guy here to make us laugh.

I asked him one question at the end: what sort of questions do people ask him at these shows?

His said it was divided into two camps: those who say he’s glorifying violence and want to see if he will and can defend it and those who’re interested in fighting technique and things, people from the fighting community. I think I’m a little bit of both, though I’m not part of any fighting community.

We had a guy there who asked “what was your favourite fight?” and made the whole discussion seem fucking ridiculous.

And we had a girl there who, in a stilted, self conscious manner tried to press him on defending violence and wanted us all to know she had firm opinions and thought it was wrong for him to glorify violence the way he did.

But I don’t know. He told us stories involving violence, and they made us laugh and think and all that, but I didn’t leave wanting to fight and, in terms of him glorifying violence, that feels pretty key.

I'm going to skip over the fact of this being my first post because thats courtesy gone way off guard and instead just MAKE this post:

Listening to Pedro The Lion - basically a weird sidestep in taste for me since their existence is sortof buried years back, too deep to unpick but not deep enough its earned them any status in my memory of 'Things I Like(d)'. But, anyway, i was listening again today (to two of the three songs i really like by them) and i was thinking about what a great song Rapture is - and this is so much a subjective judgement, even in the realm of everything being relative - but it basically feels in some way the musical personfication of pin-pointed sentiment. Not the words themselves (though David Bazaan's strangely raspy but disaffected soaring breath is part of the picture) but all that clangy production and those shimmering guitar 'scapes, which are all sweat& warmth& haze and NOISE interwoven with something like melody, but i don't want to use that word.

Also. I dont think i have ever in my life felt so much that two songs are so much a pair as Rapture and Options which are so distinct and i hope TENUOUSLY linked subject-wise (not sure what the benefit is to feeling otherwise) but i am certain they are part of the same something.