This is what’s keeping me going.
Hells yes. Crank it. Crank it and dance, bitches!
Okay, I know I’ve not posted anything for two months. And I know it’s a total copout to say “hey, I’ll post more soon, here’s a video”. Does it help at all if the video includes the amazing Debbie Harry and the sickeningly awesome guitar work of Chris Stein?
I sure as hell hope so, because here’s Blondie doing “(I’m Always Touched) By Your Presence, Dear”:
Album: Stars Lost Your Name
Release Date: Wednesday, 2010.3.24
So you really need to go check out this album. It’s called Stars Lost Your Name and the artist, John C. Worsley, bills himself for this album as Clearsignals. The album is full of spacey electronica that drifts seamlessly between the atmospheric and the tribal, without ever losing any interest or energy.
The album as a whole is remarkable in many ways, not the least of which is its pacing and arrangement, which take the listener from warped atmospherics (“cygnus ob2-12”), through rambling electronica (“bellatrix”) and a single melancholy vocal track (“beta lyrae”) and back again. The final track, “Eta Centauri” feels like the soundtrack to an infinitely long walk through a desert wasteland on an aggressively alien planet. And I mean that in the best way possible.
It’s a beautiful, haunting, cohesive work. It feels like music meant to accompany something, though I don’t really know what that something might be. I can say that it serves admirably as music to write to, as long as what you’re writing is strange and introspective. It also works great for coding to as long as the code you’re writing is arcane enough that you won’t find it in any patterns book.
However you feel about electronic music, the album is worth a listen. If you’re already a fan of electronic music and need music to chill to, or just something to soundtrack the work at hand, then this will definitely fit the bill. It’s at turns wistful, melancholy, plodding, and spacey, and the overall album flows naturally while still being rich and well-crafted enough that it never gets boring.
In short, it’s definitely worth a listen.
Well, I’m back from a couple of weeks of trekking around the country and getting slammed at work. I’ve still got some reviews lined up, but in the meantime, here’s a neat graphic about the state of the music industry. It’s pretty sizable, but a very interesting read.
I’m honestly surprised that the Big Four still commanded so much market share in 2005. It’ll be interesting to see what it’s done since then. Other than that, there’s nothing really surprising. The market for albums is in sharp decline. I doubt this has much to do with piracy (despite industry protestations) and has everything to do with the fact that a lot of music is now being sold in single-song downloads or being given away for free by artists. Add in the tanking economy and albums really have the cards stacked against them.
The US, Japan, and the UK continue to be the three largest sales markets, much as it has been since time immemorial. Digital music is now a $4.2 billion industry, despite the Industry’s best efforts to smother it (and any resulting profits) in the crib. The growth in digital music for the past 6 years averages out to just shy of 150% per year, which is damned impressive.
So really, there aren’t that many surprises to be had in the industry. Catchy pop tunes still dominate sales, the Big Four still dominate the market (though that’s changing), and regressive and unoriginal thinking still dominate the captains of the Industry. Predictions: the Big Four continue to lose market share as more artists realize they don’t need them. Indie labels continue to innovate and bring the most interesting artists to market. More and more artists go completely label-free. Above all else, the digital music revolution continues with more music being sold and distributed over the Internet.
We’re on our way towards a much more decentralized industry that’s powered by the Internet, true-fans, long tails, and all the other weird emergent effects of a world of ubiquitous connectivity. This chart shows only the first few years of that transition. And I, for one, am excited to see what this movement has in store for the music world.
Artist: The Shondes
Album: My Dear One
Label: Fanatic Records
Release Date: Tueday, 2010.5.4
I’ve often harped on the importance of Sophomore albums. They’re easily important as first and last albums, and perhaps even more so if the band wants to have any sort of longevity. So it’s my pleasure to say that the second album from The Shondes is good. Really damned good.
Loyal readers (there have to be at least a few of you) will remember that The Shondes released one of my favorite albums of 2008. That debut (Red Sea) was one of the most original and important albums of the year. It was also awesomely fun and rocked pretty damned hard.
Well, The Shondes’ sophomore effort is about to hit the market and, thanks to the good folks at Fanatic Records, I’m happy to report that I’ve gotten my hot little hands on a copy. And it’s flat-out awesome. It’s every bit as excellent as their first album.
The instrumentation and pacing of the new album are much as they were in the last one. Energetic, mid-tempo rock songs with a lyrical focus and plenty of tasty instrumental hooks. (For the record, the violin/guitar/bass/drums instrumentation works far better than I would ever have imagined.)
The Shondes themselves claim that it’s a break up album. But I genuinely think it’s more than that. I think it speaks to a deeper, more visceral human experience. While most of the songs are framed in terms of the end of a relationship, I think that it’s really more of a heartbreak album. Heartbreak is a more universal human experience, and I think it’s one that My Dear One speaks to well extremely well. Songs like “Nothing Glows” powerfully evoke the sick, sad greying effect of heartbreak. The notion that one’s “bruises don’t turn black and blue” is a particularly effective image for the fact that it shows just how dulling heartbreak can be.
The lyrical focus of the Shondes’ sound lends itself particularly well to this album. Songs like “You Ought to Be Ashamed” profit from my lyrical breaks and a melody that’s carried (or at least matched) in the vocals. This is largely to the credit of Louisa Rachel Solomon, who provides most of the album’s vocals and whose dusky, dextrous voice is powerful and expressive throughout the entire album. (Though for a particularly good example, give a listen to “Miami”.) Also notable are the vocals that Elijah Olberman contributes to the album (“The Coming Night” and “All the Good Things”). Olberman’s smooth, expressive voice has a wonderfully androgynous quality.
As in the first album, Temim Fruchter’s drumming is rock solid. Fruchter reminds me of some of the best jazz drummers I’ve heard, adding energy and style to a song while never stealing the show. (Cf. “Fire Again” and Fruchter’s rambling, snare-heavy lines.) Solomon’s bass work is similarly solid and unobtrusive.
The only lineup change since the first album is the replacement of Ian Brannigan with an artist named Fureigh. Fureigh’s style is remarkably similar to Brannigan’s, and meshes well with the rest of the band.
My only major complaints about the album are with regards to the production quality. The whole album seems to have a flat, muted sound to it. This saps it of some of the energy it would otherwise have. This is particularly noticeable (unfortunately) on the lead title track. While this sound grew on me somewhat, I feel like the album could have profited from a brighter, cleaner sound and less post-production sophistry.
My Dear One is great rock album. It’s raw, emotional, and gutsy as hell. Songs like “Let’s Make It Beautiful” show how well the Shondes can take classic Rock forms and give them a unique sound and form to create something new and interesting. This album is well worth the price, both for fans of the first Shondes album and for people who love rock and want to hear something that’s genuinely new.
“The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side. ” – Hunter S. Thompson
So I have a few posts lined up, including reviews of the new HIM and the new Shondes. Alas, work’s got me on the ropes this week. So in the meantime, here’s a great cover of a Johnny Cash classic. This is Dr. Noise’s version of “Cocaine Blues”:
I have to confess, I’ve always had a gutteral dislike for Malcolm McLaren. But I suppose his recent passing does warrant some comment. Perhaps the best comment, though, is not any direct hagiography or corpse-kicking, but rather a reflection on some small, bizarre part of his life and career. Roger Ebert, who once collaborated with McLaren on an unfilmed Sex Pistols movie, offers this great explication of the project.
“Malcolm McLaren appeared with Russ in my room at the Marquis. He was a ginger-haired, wiry man in his 30s, who wore a “Destroy” T-shirt and leather pants equipped with buckles and straps. These were, I learned, the infamous Bondage Pants he introduced at SEX, the celebrated Kings Road boutique he ran with his romantic partner Vivienne Westwood. The T-shirt was also hers. The pants offered the ultimate on bondage convenience. When the mood struck, you didn’t have to rummage about for belts and braces; all your needs were built in. On his feet he wore what Russ approvingly noted were Brothel Creepers.”
Definitely read the whole thing.
Need a break? Want a break? Neither need one nor want one but compulsively click on any hyperlink you come across? Great! Then check out this slick little step sequencer. The rows each represent a different note, the columns represent 16th notes in a measure.
You can also save any given one-measure frame by right-clicking on the sequencer and selecting copy. This pushes a comma-separated string to your clipboard. You can load them again by copying that same string, right clicking on the sequencer and selecting paste.
Here’s one of my favorites that I’ve bashed together in the way-too-long I’ve spent playing with this thing in the past couple of days:
On a somewhat related note (read: not really related at all), here’s a video of British artist Little Boots playing her single “Meddle”.
For a drum machine, she uses the coolest and most interesting sequencer on the market today, Yamaha’s Tenori-On. (The Tenori-On can also function as a synthesizer and a midi controller. I want one with a fierceness.) She also uses a Stylophone, which is another neat little instrument that I’m keen on getting my hands on.
So go have fun with that sequencer, make some awesome loops with it, and feel free to share them in the comments. And if anyone has an extra Tenori-On and/or Stylophone they want to give me, my birthday’s coming up in about a week.
…Just sayin’ is all.
Update: Apparently I fail at embedding YouTube videos. Video embed fixed.
Meat Loaf’s releasing a new album (his 11th) in April. Here’s the lead single off of it, called “Los Angeloser”. The songs fun in the campy way that only artists like Meat Loaf can get away with. As for for the video? I really have no clue what’s going on there. It seems like he had about four different videos he wanted to shoot and, unable to make up his mind, shot them all and mashed them together:
The album’s called Hang Cool Teddy Bear and it’s due out April 19th.