Wednesday, December 29, 2010
This is Hall & Oates's best record, and this is their most "rock" record. Some of this kind of sounds like Buzzcocks and I also hear quite a bit of the power pop of the 70s creeping into these songs. Either way, choruses are super catchy, but the verses and pre-choruses of these songs often offer the most interesting twists, regularly catching me off guard with wildly unexpected melodic phrasing. Check out the aggressively successful hit single "Kiss on my List" for a perfect example. That pre-chorus, man. That pre-chorus makes me want to become a better person.
In a cool "connect the dots" moment, one can see how the chords at the beginning of "Hard to be in Love with You" became "Out of Touch" a few years later. You've gotta lotta nerve, Daryl Hall. (got-ta lot-ta)
Sunday, December 19, 2010
Pagan Youth is a band where I steal ideas from artists such as The Zombies, Motown and Hall & Oates while Brandon just wails on the bass guitar. We are more into self-improvement projects than cosmic suicide cults, but really anything that involves the destruction of civilization is cool.
Pink Torpedo is a freaky zeeky psych band with a free demo featuring Pagan Donahue on drums.
Spells are what it sounds like to be a ghost.
"On 1/29, Pagan Youth, The Merlin Wall & Spells will be performing live music at Pancho's in Logan Square due to increasing entropy in the universe. Please join me in attendance." -Douglas Pearce aka Douglas P
Monday, December 6, 2010
Various jazz musicians such as Don Cherry and Ed Blackwell just absolutely freak out on this freak show. Cherry is wailing on that trumpet and that piano while Ed Blackwell switches between legit player nonsense and subdued polyrhythmic games. This whole album reminds me of Sun Ra, in that it's really fucking weird, but in a way that seems like it probably makes perfect sense to someone. However, that someone is not me. I am but a mere white man who cannot jump.
This rip is divided up into several tracks, which is nice because having 40 minutes songs is annoying.
Tuesday, November 23, 2010
Sunday, November 7, 2010
And man I can't believe how materialistic and shallow hip-hop is nowadays. I wish things would go back to how they were in the 80s when hip-hop actually had meaning and substance.
Sunday, October 31, 2010
That said, here is Vader's Necrolust demo, which exists in that late 80s extreme metal stew that I'm so obsessed with. This is really, really fast thrash metal with stupid production. I'm almost reminded of Massacra in the way that these hyper-speed riffs flirt with major tonalities and smoothly metamorphose into new themes. I have a fetish for this stuff.
Thursday, October 21, 2010
Monday, September 27, 2010
This sonata starts with some fucking heavy piano riffing, the idea behind which I plan on ripping off for a Like Rats song sometime soon. You heard it here first. This piece is also unbelievably melodically rich with dissonant, rapidfire statements that somehow still make intuitive sense and are completely engaging. Transcend your boring, stressful reality with Prokofiev's melodic mindfuck piano experience number six.
Sunday, September 19, 2010
Sunday, September 12, 2010
As a young youth*, I remember checking out the Buzzcocks and being sorely disappointed because they weren't that punk, you know? I was into The Broadways & Rancid & NOFX & assorted skacore bands and had started to dig into The Clash & The Ramones. I thought the Buzzcocks were stupid, but I was actually the one who was stupid. Why can't I ever do anything right please help meeeeeee.
Anyway, these are extremely, phenomenally catchy pop songs played with just a little bit of punk edge. What I care about are the little melodic tricks that elevate these hooks to transcendental status. The key change in the hook of "Ever Fallen in Love..." is the most obvious example, as is the major to minor chord change in "Everybody's Happy Nowadays" (total Beach Boys rip on that vocal melody; not just cuz it's falsetto although that makes it more obvious; I know because I also ripped off "Keep an Eye on Summer") as is the sharp five going into the chorus in "I Don't Mind." Another band known to always be doing cool stuff like that is THE BEATLES. So tite.
Sunday, August 29, 2010
This is a weird record that doesn't quite sound like anything else that I'm aware of from this time. It's quite a bit slower than other emerging death metal bands, and it mostly avoids the bluesy shuffles and overt Sabbath worship of other doom bands (except for the extended shuffle solo section in "The Elder Race"). The rhythmic emphasis typically lies on the beat, giving it a very methodical, plodding feel. If you are a frown-lover, this album will give you plenty of opportunity to frown. The drum performance is also impressive, which is important for a band with so much space in their songs.
Dan Polak, you know about this record, right? Because if you don't, I think it will be your favorite thing.
Saturday, August 21, 2010
Anyway, this is a fantastic collection of raw pop punk songs where dudes obviously like The Misfits. Skiba always fakes the chorus the first time through, either by singing it an octave low or doing it instrumental or by skipping it altogether. Also, resolving a sixth up a half step to a power chord on the tonic is super common. Kind of a black metal sound, which is interesting because I had a brief conversation with Skiba about black metal and his Until the Light Takes Us shirt. I wonder if his interest in this musical subculture came before or after he wrote these songs.
Remember that I got into US Maple because of the lyrics to "Goodbye Forever." When a man says ow...
Friday, July 30, 2010
It should be obvious by now that I am a fan of primitive things. The absence of technicality reduces songs to an intuitive experience. "Does this work or not?" Although it is risky to strip things so bare, there is also potential for greatness in doing so. When it works, it really works. This is the zen meditation of proto-death metal. Let all riffs drift away until you're only left with power chords and Discharge-style drums. Acknowledge other thoughts, but let them pass into the abyss.
Monday, July 19, 2010
Monday, July 12, 2010
Negative Approach is possibly the most pissed band I’ve ever heard. This is the musical tradition of The Stooges passed to the next decade: your lizard brain screaming disillusionment with civilization. What separates Negative Approach from other hardcore bands of the early 80s (besides their palpable ferocity) is their effective use of mid-paced rhythms and recursive phrases. Riffs morph sinuously from verse to chorus, referring back while always driving forward into crashing bursts of rhythmic intensity. While most of these songs ostensibly lack dynamics, tension and release are achieved through a manipulation of structure and managing expectations of how a phrase will terminate. As long as humans are crammed together in cities and neurotransmitters are thrown out of balance, this music will be relevant.
Tuesday, June 29, 2010
"She got a big ol dooky boody" is one of my favorite vocal hooks to come out of my home city, and that paired with the "duh doo doo dun dun dun" melody is a real tapeworm for your ears' dookie booties. The production on this track isn't really that cool since it's mostly just a Percolator sampler, but I don't even care at all because the only thing I can think of is a nice .7 waist-to-hip ratio. Although maybe a "Dooky Boody" is more like a .15 or something. Check Urban Dictionary.
Thursday, June 17, 2010
The melodies on this record tread the epic dance pop path, but defy expectations just enough. The beginning of the chorus of "Can't Get Over" bites a well-known pop song that I can't quite get off the tip of my brain right now,** but the second part of the phrase takes an epic twist that really gets the endorphins flowing. The real strength of this album is its focus, though. The tempos stay up, and there aren't tons of syrupy bullshit ballads buffering the singles.
Also, I was listening to mainstream urban radio today, and they transitioned from Mobb Deep "Quiet Storm" into some fucking stupid-ass Black Eyed Peas song, and it was unbearably jarring. Evan Parker into September is my blogger tribute to this upsetting transition.
**FINE YOUNG CANNIBALS, bitch.
Tuesday, June 15, 2010
This flurry of notes and changing registers is what I imagine social interactions to sound like to an autist.
Monday, June 7, 2010
If you care about the cool internet blogosphere music community people, you will recognize Helm for his insightful commentary and his deep dedication to heavy metal. He is also a brutally talented artist (see the illustration above), and his work is visible on his blog ASides-BSides. This mix features some awesome weirdo "techno thrash" bands, as well as one of the coolest bands that I've heard in awhile, Socrates Drank the Conium. Once again, my guest poster wrote a lot, so I will shut up.
Hello. I am Helm from Asides-Bsides. I listen to a lot of Heavy Metal and sometimes write about it. Todd Nief of Primitive Future asked me to do just that for you so here's a mixtape and some notes on the songs below.
Waking up today was strange. I suffered from peculiar post-apocalyptic 'digital life' nightmares that I couldn't awaken from. Lots of shit went down but dreams being what they are, most of it is hazy now. All I remember is at the end of the dream I was too afraid to unplug myself from a grotesque body-horror life-support mechanism in fear of not so much death than being 'offline from the world'. Does that sound familiar?
I finally broke the dream paralysis by screaming at the top of my lungs - in the dream, in reality I barely coughed waking up. So, I take a look around in the room and see two monitors staring at me, an abundance of cables lining the floor, felt really weird. Of course I ran to the internet first thing. This playlist was assembled to put my foul mood to some proactive use, plus give me something to do until I felt better. Listening to the full thing seems to have helped, so there you go, self-medicating for information globalism with the Heaviest of Metals.
01 - Shadow of the Beast - Intro
Here's the intro image from the game. The original tracker music is by Dave Whittaker, if you're interested. I love the synthetic flute, very melancholic.
02 - Obliveon - Cybervoid
"Face the void, prepare for the fight
Victimized by cruel megabytes"
03 - Protector - Nothing Has Changed
Well, this is a downer. Look at these guys,
"The buildings are made of gold
The sun shines bright
Out of a blue, a clear blue sky
The streets are clean
The people laugh
The animals are free
No hate, no one cries
No more distrust
No more disgust
And no more war
No industry pollutes the water
The sea is filled with movement and life
The governments scrap all their useless weapons
They are not bribable any longer
Everyone is happy
No more pain
But suddenly it's fading away
I wake up it's 12 o'clock
And I realize, nothing has changed. "
04 Osiris - Futurity (Something to Think About)
Oh, that's right, techno-thrash.
"Gazing into my crystal ball
It never seemed so dark before
The world is lost and lonely
Year 2011, twenty years from now
Will there be earth, will there be people?"
Actually to be more precise Osiris are a bit late to the modernist techno-thrash/progressive metal party. The height of this genre's potency was circa 1989-90. When the Soviet Union collapsed, signaling the end of the cold war, a lot of this paranoiac techno-thrash (and lots of metal in general) lost its raison d'etre. But for all we know Osiris were perfecting these songs for a couple of years before the record was released. Anyway, I'll write about techno-thrash in detail in some future post, somewhere.
05 - Abstrakt Algebra - Shadowplay
Speaking of direction-less '90s metal, here's a pleasant upset: Candlemass founder Leif Edling puts out a post-metal record in 1995 and it's great! The cover's worth looking at too, (especially if you fold it out). Back when this came out I didn't know what to make of it, I were as confused about the future of metal as everybody else. Romantic doom/death had happened, Black metal had happened, nothing new and as diligently romantic (as is the essence of metal) seemed to be ready to emerge so almost all of us pursued the precarious poisons of post-modernity... perhaps this was the future, you know?
"Taciturned teasers with tattooed tears
A play of shadows they give
A blindfolded sojourn from Shakespeare to Marx
Directions vague and obscene"
06 - Deathrow - Machinery
This is the absolute flagbearer of what is sometimes called techno-thrash (or less aptly, 'progressive thrash' or 'technical thrash' though my distinctions and reasoning on this will have to wait for a future playlist/essay). Germany, 1988, let's look at the lyrics.
"I am walking through the streets of my old town
Looking back on the days of my youth
There are factories in the fields where we used to play
Clouds of smoke hang in the sky and block out the sun
God bless this house, the car and the TV
Show us our idols in magazines
They build us prisons without any walls
Money rules we can't resist
Snakes of commercial TV
Decoy with their apples
False priests spit out their lies
Because God sells
If we don't pull ourselves out of this mud
Our children will have to pay for our sins
God bless this house, the car and the TV
Show us our idols in magazines
They build us prisons without any walls
Money rules we can't resist
We're just wheels in a great machinery"
07 - Socrates Drank the Conium - Breakdown
08 - Moahni Moahna - Tales of Xet Sof
"You only need to press this key, they said
So he did too bad, so sad, they gave him hell
Destructive instructions are easy to make
They are not constructive
Illusions, confusions breaking him down
What's the point in reading this book
Where's the one I trusted, he must die
Because he lied
Nothing happened whatsoever
Days were wasted, time was tight
Book of wisdom, none too clever
It's so wrong, but oh, so right
What's the point of reading this book
*customer support voice says something inaudible on right speaker*
Now he is older, trapped in a book
And he belongs there"
09 - Psycho Symphony - Silent Fall
10 - Paralysis - Arctic Sleep
And this techno-thrash band from the Netherlands ties the whole thing off leaving us exactly where we started. Only now, much wiser.
Saturday, May 29, 2010
This is a collection of The Verlaines early EPs, and is chock-full of that good, nice, wonderful & catchy white-guy rock. Those Flying Nun white guys were really cranking it out in the 80s. Get obsessively into it.
Tuesday, May 25, 2010
The melodic possibilities of harmonic minor and its modes are explored in fascinating detail here. The songs are less "song-like" than a lot of Dead Can Dance material and function more as melodic adventures over droning backgrounds. I wonder how much of this is improvised, and I wonder how many cues Lisa took from Kind of Blue and how many she took from Indian classical music. That said, shit still sounds medieval as fuck, so blast this Lisa Gerrard album and this youtube video simultaneously and enjoy the best that life has to offer.
Sunday, May 16, 2010
Demigod are willing to let a riff ride, which is a very admirable trait when riffs are good. This restraint is particularly admirable amongst riff-happy death metal bands. Phrases are often longer than the standard two measure melodic arc, and slight variations in percussion give motion. What a good way to write songs. Man although the one riff on the record that makes me go insane every time I hear it (the thirds with the backbeat about halfway through the title track) gets shorted a bit. Dang!
In conclusion, this Finnish band makes me think of sinking into a swamp more than any NOLA sludge ever has. A bog flows from my mouth, a bog flows from my mouth, a bog flows from my mouth.
Hi, and welcome to Nix Mix. I put this together in the style of a CD sampler, the most enduring and provocative format for compiled music to date. If you like Wimbledon, please stick around. You're in for a treat! A lil' something about the music:
Some of these songs were prophetic at the time they were written. Consider the way Big Black's "Passing Complexion," from the 1986 album Atomizer, anticipated the way it would sound if the theme music for all twelve characters from Street Fighter II (a game released a full five years later) were layered and played simultaneously.
David Axelrod's 1970 album Earth Rot, where the selection here is from, is a lot like that song "God Hates the World" (adapted from the pre-Auto-Tune original version of the supergroup charity single "We Are the World") recorded by the Westboro Baptist Church a few years ago. It tries to get you squirmin' by making you feel like you're taking a bubble bath on a cloud, and then the cloud starts singing to you about how you're gonna die. The primary difference is that Axelrod's presumed god isn't the celestial embodiment of a far-right militia on a murderous rampage. Still, I think it could be played through massive, Jonestowny stereo equipment around the world and serve as the sonic nudge needed to make things feel really apocalyptic for half an hour.
Making a mix can be a mournful process. For instance, I'm crying right now. But seriously, folks...
I want to say something. Whether you're playing on clay, asphalt, grass, or carpet, inside or out, it remains true: there's nothing wrong with playing the game of life and ending up with "love." I hope these songs help you on that path. Game. Set. Match.
2. Skull Kontrol - Camouflage
3. Big Black - Passing Complexion
4. Minutemen - Paranoid Chant
5. Polvo - Feather of Forgiveness
6. The Rats - Defiance
7. Zomes - Petroglyphs
8. Louie Lasky - How You Want Your Rollin' Done
9. Willie Colon with Hector Lavoe - Que Lio
10. Ruby Andrews - You Made A Believer Out Of Me
11. Gal Costa - Cinema Olympia
12. Magazine - Cut-Out Shapes
13. David Axelrod - The Warning Talk (Part III)
14. Cold Sweat- Nightmare
15. The Fix - Cos The Elite
16. United Mutation - Final Solution
17. G.I.S.M. - ABC Weapons
18. Rudimentary Peni - Sonia
19. Born Against- Five Dollars An Hour
20. Condominium - Barricade
21. Billy Bao - Factory of Repression
22. Masta Ace, Inc. - Boom Bashin'
23. O.V. Wright - He's My Son (Just The Same)
24. Richard & Linda Thompson - The Calvary Cross
25. Geechie Wiley & Elvie Thomas - Last Kind Words Blues
26. The Breeders - Oh!
Monday, May 10, 2010
A droning version of song structure is applied throughout and creates a hypnotic effect. A theme is repeated until it reaches atmospheric saturation and it begins to tickle ritualistic impulses. These are rich melodies filled with just the right amount of whimsical trippiness to mold your imagination into a beautiful, Stravinskian pagan scene.
And don't think for a second that just because there's a clarinet on one of the tracks that this is useless music dressed up with surface level "interestingness." Bizarre instrumentation and sound effects supplement textures and structures perfectly capable of standing on their own.
I would hesitate to draw too solid of a line between this release and the Norwegian black metal scene of the early 90s, but I will say that Scandinavians writing droney, minimalistic music that lashes out against modern civilization is one of my favorite things.
This review originally appeared in Jettison Quarterly.
Monday, April 26, 2010
Later doom bands can plod, but they are not this heavy because their songs are boring. Later stoner bands know the pentatonic scale, but that riff factory is about worn out. This demo deserves to be mentioned in the same breath as Saint Vitus & Trouble.
Also, I'm a connoisseur of "ooh"s, and the one at the beginning of "Wicked Warlock" is fucking phenomenal. Nice and drawn out. It's also cool because it sounds like dude is pushing down on his floating bridge while chugging, so the pitch keeps wavering. Happy accident or genius subtle touch? Either way: WICKED WARLOCK! OOH!
Wednesday, April 21, 2010
Anyway, Money Jungle is an old favorite of mine. This recording is weird in a way that almost seems aggressive, but actually quickly settles into a feeling of "oh actually these guys are just way the fuck smarter than me." Listening to this thing is throwing off my internal equilibrium and I'm reeling around in my chair. Or maybe it's just weird allergy-related sinus pressure.
On the title track, Duke's piano trills and Mingus's bizarre bass slides and Roach's surprisingly hard-hitting drumming are legitimately unlike anything that I've ever heard. This is kind of like a Sun Ra record in that it exists entirely in its own musical paradigm. The theme to Wig Wise actually reminds me a lot of Thelonious Monk, with it's slightly off-kilter pacing and almost dissonant melody, with a playful-sounding resolution to the phrase.
I've been meaning to really dig into Duke's discography for awhile, and I'm gonna do that as soon as I've caught up on my "to listen to" folder. Life goals, man. Life goals.
Sunday, April 18, 2010
I spend about nine months of the year sitting at a desk in Michigan nerding about things like plateaus and mountains. The other three months I attempt to fulfill the destiny of a girl raised in the suburbs by traveling, hiking, etc. As fucking brutal as modeling plate tectonics is, I sometimes have trouble working in front of a computer when there are so so so many cool rocks for me play with outdoors.
My mix is composed of the songs that help me get through my infinite work days-the ones that after a 12 hour date with my computer I realize I have listened to on repeat 3045834503485 times, mostly because they remind me of gratifying experiences anywhere but my office in Michigan. Actually, every day I just listen to the entire Bat Out of Hell album on repeat, but I thought people who didn’t get it might become bored with a pure Meatloaf mix:
1. Talking Heads - This Must be the Place
2. Alkaline Trio - Nose Over Tail
3. Nick Drake - Place to Be
4. Screeching Weasel - I Wanna be a Homosexual
5. Descendents - Pervert
6. R Kelly - I'm a Flirt
7. The Smiths - Miserable Lie
8. The Temptations - Isn't She Pretty
9. Yo La Tengo - Center of Gravity
10. Billy Bragg - California Stars
11. Archers of Loaf - Fat
12. Lemonheads - Rockin Stroll
13. Morbid Angel - Chapel of Ghouls
14. New Order - The Village
15. The Wedding Present - All This and More
16. Bob Marley - Don't Ever Leave Me
17. Woob - Creek
18. The Misfits - Skulls
19. Gorguts - Obscura
20. Klaus Nomi - Cold Song
Tuesday, April 13, 2010
"I'll Call You Mine" is my favorite Zombies song. "Walking in the Sun" is also up there. It sounds like some bossa nova ass shit with the mournful brass playing somber melodies. So beautiful. "I Could Spend the Day" is quite a bit bluesier & heavier than standard Zombies fare, which actually works out really well in this case. And a bit more grit in Colin Blunstone's breathy voice is a welcome addition, if only to hear what it sounds like.
There is also a cool hokey "live" track with weird applause after each vocal part. Reminds me of Type O Negative's Origin of the Feces.
Fuck, I think "I'll Call You Mine" might actually be my favorite song. So what you should do is listen to these songs and feel extreme envy for The Zombies' song-writing brilliance and also the tone of Colin Blunstone's voice. Then, you can feel a bit better about yourself because some of these tracks are really weak.
Note: It is my duty to recommend these videos on insulin resistance and metabolism. As someone who thinks about nutrition a lot, these have been impossibly valuable to me. So far I've watched twice to try to absorb everything, and I'll probably give another go 'round soon.
Monday, April 5, 2010
As seems to happen, I don't know, just about four times a year, a new issue of Jettison Quarterly is freely available for your internet reading enjoyment. Once again, my opinions on music are featured, as are conversations with Cutis Mann, Cody Hudson and Carrie Schneider, director Ky Dickens, author Joe Meno, Andy Butler of Hercules and Love Affair, designer Ra’mon Lawrence, and Ron Banks of The Dramatics. In celebration of this historic release, here are my thoughts on a Moondog record that appeared in a Jettison Quarterly of yore.
This record is well known for its idiosyncratic use of found-sound animal noises and baby cries, and its almost haphazard blending of genres and styles. These elements are, of course, essential to the feel of these recordings, as well as an important chapter in the inimitable legend of Moondog (a blind street musician clad in self-made, Thor-inspired garb). However, framing a discussion of this album in terms of its quirks fails to properly explain that the actual songs and melodies here are completely spell-binding. These microsongs state an idea and fill it out with bizarre percussion and found sounds. There is no room here for narrative and structuring ideas; these pieces exist as only as melody, texture, and slithering percussion. Moondog isolates melancholy through stark piano and violin melodies, and adds bubbling primal instincts through rolling, syncopated percussive arrangements. Sounds of frogs and passing cars whisper deep, important secrets of the nature of men trapped in modern society, but looking for more than civilization can offer.
Wednesday, March 24, 2010
Who'd like a banger in the mouth.
Tuesday, March 16, 2010
I have a love/hate relationship with music. There are times where I look into songs trying to find this hidden code woven into space and time that may unlock all the answers to mysteries surrounding this very world and our lives. For a moment, these random notes and rhythms make the bad good, the mundane exciting, and the dead lively. It is one of the only constants in life that is always there for you. You can talk through it but not to it. It makes you a better listener. I love music for these reasons.
Then there are times where I feel like it owes me something. When I cannot find the answers I sometimes feel betrayed. I hate music for these reasons.
And god forbid I listen to the continuous bowel movement that is popular music. Not to say that all 'pop' music is a stinky turd, but most of it is. I just cannot identify with a bunch of alpha (or beta) losers moaning over cheating on someone or whatever subject matter that is not really important that you can put over a digital drum beat that makes your peepee tingle when grinding and possibly vomiting on some random stranger in the club or where ever the hell these made up creatures in my head go. Even though the last statement sounds glorious, it also makes me hate music (granted that I just made an unfair generalization, but so what?). I am territorial about the things I like. I see it as more than just a beat with auto tuned singing over it and I want people to comprehend that.
I guess I have spent so much time engulfed in this musical fantasy land that I have almost severed all my ties with reality. I cannot really say that I care because we all need an escape sometimes. Mine so happens to sing to me, how about you?
Some years ago I had received my last mix tape. A real life mix too. You know, recorded on to a blank tape via compact disc and record player? It was so full of life, living and breathing. Although I did not like 100% of the songs, I can say that I still listen to it and will never forget that time in my life.
This is my creation for you. I hope you like it and can appreciate these songs for what they are. Some speak to me and some can put me into a trance that blocks out anything that had been riding on my mind for a short while. They make me happy and full. I love music for that.
Oh, and now that I am thinking about it, maybe I take back those rude comments earlier. When you think about it, having a tingly peepee is a damn good thing, right?
- Your Friendly Neighborhood Dan
2. Acrimony 'Million Year Summer'
3. Candlemass 'Under the Oak' (Tales of Creation version)
4. Failure 'Stuck On You'
5. Kiss 'Goin Blind'
6. Leaf Hound 'Freelance Fiend'
7. Plastic Bertrand 'Ca Plane Pour Moi'
8. Anathema 'Are You There?'
9. Uriah Heep 'Traveller in Time'
10. Norman Greenbaum 'Spirit in the Sky'
11. Ride 'Chelsea Girl'
12. Only Living Witness 'Voice of Disrepair'
13. Captain Beyond 'Raging River of Fear'
14. Herman's Hermits 'End of the World'
15. Mindrot 'Despair'
Monday, March 15, 2010
This is music that my mom likes. About once a month, she talks to me about being interested in new music, but she mostly sticks to her Putumayo CDs. However, I've managed to get her a few bossa nova albums that she plays regularly, and that is something that I feel good about. This is the least I can do for this strong woman who I love.
Click on that *Brazil tag to see how I feel about the bossa nova melody. My god, that shit is so beautiful! Most of these tracks are instrumental, with the melodies carried by wind instruments or piano. I wish the guitars were mixed a little bit louder so I could better hear the chord voicings. Lots of ii-Vs; that minor seven chord really just speaks to me and only me. You could never understand. No one has ever felt like this before. Perfect for getting lost in feelings that are being had for the first time ever in the history of the human race.
The "bum bum" in Lamento is fucking great. I feel it vibrate down the entire length of my okapi tongue.
Wednesday, March 10, 2010
Nitzer Ebb uses minimalist structure to create a stark, bludgeoning songs that evoke images of feral humans warring in the streets of a failed industrial megalopolis. It's no surprise, then, that Detroit techno musicians such as Derrick May have acknowledged the influence of the ol' Nitzer.
Also, I really like dudes yelling in my ear about muscle and hate, because that is basically what my internal dialogue is saying to my all the time.
MUSCLE & HATE MUSCLE & HATE MUSCLE & HATE
Huh good thing I've been looking into meditation recently.
Tuesday, March 2, 2010
This Magnolia Slim aka Soulja Slim record starts with Method Man telling you he's gonna send your ass back to the dark side, which is awesome. This release fits loosely into the New Orleans bounce scene, which is beautifully documented over at Twankle & Glisten. However, as a big-brained ape like yourself might guess, this release tends a bit towards the darker side than any of the other stuff from New Orleans that I've heard. Actually, David Gilmour commissioned this recording after being inspired by "Dub Side of the Moon." Each of these songs is based upon a Pink Floyd lyric.
It has a bit of that eery, lo-fi feel that characterizes the stuff coming out a few miles north in Memphis. As is typical of these lo-fi recordings, vocals are muffled and the occasional double-tracking further pushes the voice into the "supplemental rhythmic instrument" category. Slim's delivery certainly has elements of the sing-song bounce style, as well as that peculiar, Thelonious-esque deviation from the beat. God I love that measured awkwardness. What matters though is that this has that stark, slightly melancholy feel that characterizes everything that I truly love. I want you to listen to this.
And hey, "The Dark Side" has the same sample as that Notorious BIG song. #RIPBIG And also #RIPSlim
What is it about heavy metal that appeals to the beast in man? Is it that metal channels our innate urge to fuck, fight, hunt, and kill, the animalistic instinct we all sunbconsciously suppress, unleashing it in spasms of cathartic chaos? Is it our long-dead craving to suckle blood from raw, still-living meat, our hunger to thunder across the open plain indulging every whim for death and bloodlust? Perhaps, but perhaps it is something far less complicated. Animals are awesome, and so is metal. Maybe it's just that simple.
Either way, I present you, the readers of Primitive Future, with this, my partial study on Animals In Metal. During its production, I found myself becoming nostalgic for the days of the 90 minute Maxell cassette compilation, an item as commonplace amongst my high school friends back in the day as a can of Hamm's or the standard issue pair of black Chucks. I always took pride in my ability to fit exactly 44-and-three-quarters minutes of music on each side of a mix tape back then, getting the maximum value out of each blank tape I purchased. So I did the same thing here. The compilation presented below clocks in at 89 minutes and 35 seconds, which I've overindulgently split up into Side A (44:49) and Side B (44:46).
Call me old fashioned, but it is my belief that a compilation tape should hold some sort of "flow" from song to song, carrying the same theme while still exploring the many flavors of music available to our spongy brain tissue. Because of this, I've renumbered the mp3 files on this mix accordingly, so that you can drop the whole unpacked .rar file into its own playlist and hear the songs in the same order the creator (me) intended. Not ALL of the music here is metal, but it doesn't need to be. We are diverse and many-hungered creatures.
Oh yeah: if you get a chance, stop by my blog Illogical Contraption some time. Newbies are always welcome. And an extra special thanks to Todd, proprietor and mastermind behind all things P-Future. This exercise in digital tape-trading was way more fun than it should have been.
Biological Specimens From The Museum of Living Metal
SIDE A (44:49)
1) Rainbow - Run With The Wolf
2) Red Fang - Prehistoric Dog
3) Lair of the Minotaur - Demon Serpent
4) Belphegor - Swarm of Rats
5) Sextrash - Night Pigs
6) The Who - Boris The Spider
7) Hideous - The Curse of the Killer Owl of Death From Hell
8) Cryptopsy - White Worms
9) Gut - My Goat Gets A Cold
10) The Frogs - I'm Sad The Goat Just Died Today
11) M.O.D. - Don't Feed The Bears
12) Pentagram - Livin' In A Ram's Head
13) Neurosis - United Sheep
14) Hail Mary - Beating A Dead Horse
15) Dystopia - Taste Your Own Medicine
16) Grief - Rhinoceros
SIDE B (44:46)
1) Accept - Fast As A Shark
2) Cretaceous - Fossilized
3) Men's Recovery Project - Problem?
4) Teen Cthulhu - Bloodhorse
5) Worst Case Scenario - Ignore The Pigs Outside
6) Thor - Catch A Tiger
7) Dead Horse - Piece of Veal
8) Anaal Nathrakh - The Technogoat
9) Saint Vitus - White Stallions
10) The Neighbors - Greedy Pigs
11) Septic Death - Crocodile Tears
12) King Crimson - Dinosaur
13) Deicide - Serpents of the Light
14) Iron Maiden - The Number of the Beast
(Courtesy of the PF/IC Music Exchange Program, Feb. 2010)
Tuesday, February 23, 2010
Aesop posted something about not liking the transition between Slayer and Morbid Angel a little while ago over on Cosmic Hearse, but this is one of the stepping stones between thrash and death metal that is fucking gloriously excellent. There is an awful lot of palm-muting going on, and melodies have an awful lot of notes. At some level, I prefer the more distilled down, heavier material to come later, but there is something to be said for this fucking flurry. I can't even imagine recording the vocals on "Parricide." So many syllables.
Also, Pestilence use major thirds as a primary melodic vector, which is a sound that really grinds my goat off. (Megadeth and Merauder have also used this technique to great effect).
Monday, February 22, 2010
Detuned power chord melodies swirl in sonic whirlpools before coalescing into an absolutely devastating riff that just completely blindsides you. See "Proclaimed Creator" for an example. This song gets my vote for having the most crushing death metal part ever recorded.
Also, the production is hilarious, and each kick drum hit does that weird volume swelling thing, which actually makes this a lot more primitive and heavy. Hey Andy, why does that happen again? Basically, I'm going to steal some of these ideas for Like Rats.
Monday, February 15, 2010
Those weirdo Napster found files stuck around in my life for awhile until I was ready for them, and, since then, US Maple has been dear to my heart.
Anyway, with any sort of modernist, deconstructionist what-have-you, you often run into the problem of "cool idea, too bad I never want to listen to it." This is not a problem with US Maple. Their damaged, chopped in half rock riffs have just the right style of discordant melody for my ears. Is it weird to say that the intro to "Mountaintop" is one of the catchiest things I've heard?
Also, I came across this video documenting US Maple recording Acre Thrills. The most fascinating part is the sequences showing the vocal tracking, because dude meticulously plans out and notates how his voice should sound on each part. Fucking awesome.
Also, please note that I made a guest mix for top-notch internet destination ILLOGICAL CONTRAPTION. The theme is "THE FUTURE" and I spent some time making something that I'm proud of that tells a narrative about what might happen someday. Please enjoy this music HERE.
Wednesday, February 3, 2010
Drew has a music taste that is very interesting and foreign to me, so I was really curious to see what he would come up with for a guest mix. I am almost completely incapable of predicting whether or not he will like something. Like, I think I'll have him figured out, and then he'll completely love Arab on Radar or something and my model fails. Although science may not have the right answers, at least it's asking the right questions....
It seems as though Fall has been the theme for all of these mixes.* In keeping with that, I figured I would just pull songs from my laptop's itunes that have been getting a good amount of plays as of late. There is no real rhyme or reason to the mix besides that they're all songs I've been listening to in the past month. Maybe you will like some of these songs, and if you don't...I don't care.
1. The American Analog Set - Punk as Fuck
2. Califone - Funeral Singers
3. Cass McCombs - You Saved My Life
4. Gameface - Gibberish
5. Japandroids - Sovereignty
6. Lali Puna - Faking the Books
7. Morrissey - Boxers
8. Owen - A Fever
9. Prince - Kiss
10. Red House Painters - Byrd Joel
11. Talking Heads - Once in a Lifetime
12. Wilco - We're Just Friends
*Whoa, I guess Drew sent me this awhile ago. Well Drew, if you don't like it... I don't care.
Tuesday, February 2, 2010
Did you guys remember that I had already posted one of her records? Did you remember this?
Anyway, this one is a bit more all over the place, although not quite entering into the tropicalia freakout zone that was existing in Brazil around the same time. There is some stuff going on here, though. The soaring chorus coupled with the sudden intro of those insane pipes in Maria Vai Com As Outras is really weird.
Tempos are a blur, which enable to Elza to say a lot of words really fast. Vocal melodies are loose, and vocals serve almost as an additional percussive instrument by augmenting the samba feel with a flurry of accents before switching into a surprisingly clear tone.
Track 7 is one of the most uplifting things of all time, so never have a bad day again.
(Sorry about the 128. Not really you're fine.)
Friday, January 29, 2010
It's hard for me to write about this, as this music exists in a world completely outside of my own experiences. Listening to it turns me into a reality tourist briefly shedding my overanalytical science perception in favor of a much looser existence based upon floating in melting martian ice caps. Layered vocal tracks, open strings, and reverb create an emergent phenomena that absolutely must be experienced. Dangerous, damaging psychedelia that is orders of magnitude trippier than even the most fuzzed out of all guitar solos.
And I can't help but compare the vocals on "Diana" to US Maple. Oops. Oh and motherfucker was in Moby Grape too. Remember that shit from back in the day?
Friday, January 22, 2010
I've already written about this record for trend-setting, paradigm-shattering web periodical Jettison Quarterly, but I really want to share it with my Primitive People. As such, here is the text that appeared in Jettison coupled with that mediafirewater.
James Brown not only had the luxury of being a complete godhead genius, he also had the luxury of being an astute talent scout, thus ensuring that he was always surrounded by the very best of the best. In this case, we’re talking about back-up singer Marva Whitney.
On this record, the ol’ J. Brown penned a bunch of tunes, and the ol’ M. Whitney took over lead vocal duties. At this point, Brown had already filtered gospel and soul through the twisted, boiling tubes and sieves of his brain in order to isolate the most essential elements. What remained was a deceptively simple structure of a few seventh chords, syncopated snare hits, and tight horn accents. When painted onto an aural canvas, these components became the quintessence of “the whole is greater than the sum of its parts”, as microcosms of human experience are isolated and implied recombinations open up new possibilities of existence.
A lot of these songs barely have vocal melodies, as Whitney is given free rein to improvise and embellish loosely over the minimalist grooves. Her belting, brassy voice soars unremittingly over the dancing worlds of mortals, while the band grounds the whole experience by tapping into rhythmic senses far beyond conscious control.
Friday, January 15, 2010
so i made this mixtape like a cassette with two sides and a fairly loose theme attached. the first side is about being a young white man channelling anxiety through powerpop and other dumb weenie music, and the second side is about being seduced by black ladies, falling in love, and then breaking their hearts i guess. aphex twin is the most natural transition between the two. its all pop music abounding in vitality, so fuck what you heard.
-erik bengtsen bka giorgio caetano
1. Crocodiles - I Wanna Kill
2. Rocketship - I Love You Like The Way That I Used To
3. Toms - Sun
4. Barcelona - C64
5. The Nerves - Working Too Hard
6. Orange Juice - Falling and Laughing
7. Marshall Crenshaw - There She Goes Again
8. The Ponys - I'm With You
9. The Flashing Lights - Highschool
10. Luxury - Green Hearts
11. Rivers Cuomo - Lover in the Snow
12. Aphex Twin - Flim
13. Aaliyah - Come Over (ft Tank)
14. Electrik Red - 9 to 5
15. The Diplomats - I Wanna Be Your Lady ft Cam
16. Keke Palmer - First Crush
17. Amerie - One Thing (siik rmx)
18. Candy Hill - Juicy
19. Vistoso Bosses - Delirious
20. 88 Keys - Wasting My Minutes
21. Ciara - I Don't Remember
22. T2 ft Jodie Aysha - Heartbroken (radio edit)
23. Mariah Carey - Shake it Off
Wednesday, January 13, 2010
I gave my ex-GF the Miles Davis autobiography for her birthday because I wanted to read it, and I recently took it back for myself, also because I wanted to read it. In this autobiography, Miles refers to Prokofiev as a "bad motherfucker who was terrible" or something like that, which is absolutely, unequivocally true. This shit is fucking bad.
If you read any of these words that I write in this bloggie, you should understand by now that variation on a theme is one of my favorite things. And hearing the twists and turns that a godhead freak of nature genius like Prokofiev can weave from a single musical idea is unreal. In Andantino con Variazoni, things eventually head down a bleak, somber path before activity returns to the music; this time, the orchestra plays with the theme while the piano dances chromatically in the background. My god does that smell good.
Infinite recombinations mimic the cause and effect decision trees that we use to imagine the future.
Saturday, January 9, 2010
A mid-paced thrash riff with cool syncopated emphasis is a beautiful thing, and as such, this demo tape is fucking beautiful. If you are into something like Nuclear Assault, then you are gonna want to download this. If you are a fan of playing a riff over a fast thrash beat, then dropping it to half time and switching the tremolo picking to down-picked palm muting, then you are gonna want to download this. If you sit around in a trailer camp listening to Anthrax, then you are gonna want to download this. Also, there are Halford wails.