Category Archives: Music
While everyone is wrapping up presents and scrambling around stores for the rest of them, I went through my own December pastime, which is examine my favorites/what I’ve missed from this year’s music and see which ones really grabbed my attention. I also have a Spotify playlist of songs from 2015 that I’ll put up later as well. But first, here are my albums.
Titus Andronicus – The Most Lamentable Tragedy
This year’s last fifth spot was a bit tough, as I had to choose between this album and Blur’s The Magic Whip. The Britpop gods put out a solid album, I cannot deny that. But this is a punk opera with a veneer the band has not shown since The Monitor. Between their anthem-ready songs like “Dimed Out” and “No Future Part IV” are many others that create a tapestry of mania, drugs, and separation from oneself that is are ambitious as they are kick ass. You can lose yourself in the sound as much as you can the pit.
Favorite Song: “Dimed Out” is pretty much your tried-and-true punk rock Titus Andronicus. That driving drum intro and Patrick Stickles’ screams bring the fun, but the underlying violin give it more of a body.
Björk- VulnicuraI had the pleasure of seeing Björk live at Governors Ball this year. The juxtaposition of the Icelandic singer in a bizarre dark butterfly costume with a string orchestra all dressed in white garb seemed odd, but that combination was a fitting representation of the album – a dark, pained voice using violins, cellos, and sundry instruments in expressing the dissolution of a relationship reaching for change. The production work from Arca and The Haxan Cloak, whose challenging atmospheric work made them perfect as Björk’s co-producers, accentuated her singing.
Favorite Song: “Lionsong” The combination of asynchronous beats with forlorn strings matched the turmoil inherent in her voice on this song.
The Weeknd – Beauty Behind The Madness
If Trilogy was Abel’s nascent triptych of dark R&B longing, and Kiss Land a spirited attempt at a cohesive effort, then Beauty Behind the Madness is the true nocturnal-yet-universal product of the two. It is The Weeknd’s detached drug-infused sex vibes laid bare for everyone, not just the indie crowd. You want an example of this – his mega-hit blatantly plays with cocaine use, and it still works. The Weeknd brings us all into the darkness of his R&B and you want more.
Favorite Song: “The Hills” is emblematic of Tesafaye’s evolution from House of Balloons to Madness. It’s just enough of the sex-fueled tryst you would find in a song like “Wicked Games” but with a flair heard in any club banger.
Grimes – Art Angels
I am of the minority opinion that think Visions is not Boucher’s strongest work. It’s understandable how there’s an accessibility inherent in that album compared to the previous two that made it very popular, but it was too twee for my tastes. However, Grimes put out songs on Art Angels that expands her pop repertoire, each with a cleverness to them that help the album surpass all her previous work. And so many of the songs are as catchy as they are different. upbeat vibes hiding pained lyrics in “California” are not like the ecstatic ode to her city of Montreal in the title track. Grimes truly pushed herself on this one, and it was for the better.
Favorite Song: “Artangels” is a Grimes taking K-pop/90s pop styles and using it as the bedrock for a happy jam about her musical hometown. It is a tight upbeat machine so far removed in sound from Visions that you can almost dance to it.
Kendrick Lamar – To Pimp A Butterfly
I am really leery of conscious rap nowadays. Back in college it was my go-to, but many eventually trade their rhymes for ham-fisted messages that lose their potency if the song, you know, sucks. Kendrick infused some of that spirit within the prevalent soul/funk mood of the album while retaining his rapper virtuoso skills on those bars. This album is a body, made the story-rap of good kid, m.A.A.d city into a sprawl where Lamar shows us the weight of his fame and blackness coming down on him for all to see (see “Blacker The Berry”). But he shows the beauty in it as well in songs like “i” and “Alright”, the latter so much so that it’s now become a chant of sorts for the Black Lives Matter movement. King Kendrick, indeed.
Favorite Song: “How Much a Dollar Costs” is Kendrick’s storytelling par excellence. In that narration between him and a beggar we find Lamar creating a modern-day version of a parable, and it rides out with Ronald Isley singing in penitence.
Blur – The Magic Whip
Lupe Fiasco – Testuo and Youth
ASAP Rocky – At.Long.Last.ASAP
Florence + The Machine – How Big How Blue How Beautiful
Leftfield – Alternative Light Source
Freddie Gibbs – Shadow of a Doubt
Chvrches – Every Open Eye
BOOTS – AQUARIA
Sexwitch – Sexwitch
Carly Rae Jepsen – E•MO•TION
Earl Sweatshirt – I Don’t Like Shit, I Don’t Go Outside
Arca – Mutant
While I put up my regular top five album list earlier, this year was more of a song year overall. It made sense for the compiling of a playlist, of course, so here it is for your ear’s pleasure. It has songs from the top albums along with the honorable mentions, as well as others that came from different areas. Here’s the list, and small description of my favorites from the playlist.
Sia – “Chandelier” – I am really enjoying this new transformation of Ms. Furler. This also includes her semi-inconspicuous aesthetic, but what makes this song great is in how she made it hers. A lot of her songwriting has gone to a lot of other artists (Rihanna, Beyonce, etc.) and it you can tell in this song it’s from that same vein. Delicious to finally hear it come from her amazing voice.
Action Bronson – “Easy Rider” – This has all the keys of a Bronsolini song on high levels, ripping out on a chopper from the church doors filled to the gills on acid. He’s spitting bars on riding with horses, landing planes on Roosevelt Ave, and eating eels. Yeah, it’s that ill.
D’Angelo – “1000 Deaths” – So I just found out as I write this that Questlove provided the glorious drumbeat on this. Yes, the first single heralded the greatness of Black Messiah, but good lordy, this is a Prince cut set to 13. Actually, forget Prince, this is D’Angelo, and only D’Angelo, getting heavy as fuck on the funk.
Shabazz Palaces – “They Come In Gold”– With a beat switching from something that is somewhere between weird slasher flick and acid trippiness, Ishmael Butler pushed his abstract rap into a mellow beat that was emblematic of the sound of the album.
Rustie – “Attak (Ft. Danny Brown)”– This I have to thank Jeph Jacques for, as I had never heard of Rustie, but after listening to his list, the entire album really opened up his entire work to me. There is an almost-axiom that EDM and rap don’t mix, like that one thing Biggie said in that one song. Rustie, in the pauses of the staccato electro-house, let every verse of the Detroit lunatic go and proved that rule very much wrong.
Hudson Mohawke – “Chimes” – I heard this live the summer of 2013, so it was great finally hearing the single on my speakers as opposed to a massive sound-system discombobulating my stomach from the bass and trumpets. Still, if I upped the bass on my system, There was still a rumble in my esophagus.
2. Top Five Supplemental
EMA – “Satellites”– A clap and static, with an industrial beat leading to strings and dissonance, EMA’s voice breaking the connection, linking to the whatever-is-left. This is not about past lives of martyred saints, but demons trapped in orbit.
Run The Jewels – “Love Again (Akinyele Back) (Ft. Gangsta Boo)”– Did any of you listen to “Put It My Mouth” or “My Neck My Back?” back in the day? Well yeah, this is that circa 2010s. El-P and Killer Mike go in on fucking with the raunchiest of hooks, but Gangsta Boo saves the song from your average rap misogyny and makes the man in question on her bars into a goddamn slave, flipping the song to her will like a hood dominatrix.
St. Vincent – “Prince Johnny”- The change of pace on this song brings out the rest of the album, because the difference is so deep it holds onto you. and the “oh-oh-ohs” in her choruses really stick.
Azealia Banks – “Ice Princess”– This is Azealia at her realest, delivering a nice flow that goes into a house beat-backed chorus. Ladies and gents, what’s cooler than cool? This chill rap royal.
Caribou – “Silver” – Super-relax song meant for an ambient room in a house party, or a drive leaving the city heading out into the upstate forest. I don’t pay attention to the lyrics when I listen to it, I just hold onto the longing in the words.
3. From the Honorables
Sharon Van Etten- “Every Time the Sun Comes Up” – Van Etten’s entire album is my number 6 – so many great songs from Are We There that deserve mentioning but here is the best.There is a country sentiment reminiscent of Neko Case. Her voice lingers, weathered on the twangs of chords.
Banks – “Drowning” – I’m going “Shot Fired” on this – I really don’t get the appeal of FKA Twigs and her abstract R&B/trip-hop, it comes off as it misses on both marks. Banks’ Weeknd-esque modernity with tinge of 90s R&B fits with the sultriness of her voice really well, and is a lot superior to Twigs because of it.
Sturgill Simpson – “It Ain’t All Flowers” – The Metamodern Sounds in Country Music album was the only country album that grabbed me this year. The psychedelic undertones inherent in some of the songs elevate it past the southern plane into something metaphysical. This song is emblemic of that in the breakdown halfway.
Christian Löffler – “Mt. Grace”– A techno-shamanic hymn prepping your journey up misty lands in yelps and a relentless cadence of synths and drums. True emblem to the title of the album, in my opinion.
RATKING – “Puerto Rican Judo (ft. Wavy Spice)” – Someone I met at Governors Ball suggested I check out the hip-hop group’s set and I got there right as thee song came on. Even on the grass of Randalls Island it felt like running through grimy Harlem streets in the summer.
Phantogram – “Fall In Love”– I saw Phantogram with my friend Rob a few months before Voices was released, so we were lucky and heard the song earlier. Granted, a lot of their songs show up on TV commercials and shows now, but this one is honestly on arena-level, compared to the ones from previous albums.
So there was the memory of the 1999 Chemical Brothers show burned into my memory that I described in the first part of my love letter to electronic music. That night is ingrained in my musical DNA like an aggressive gene therapy created by the beats and sights of glowsticks and dancing. That’s about as deep as the scar on my left knee from the two surgeries needed to reconstruct it. That’ll never go away.
My sister took me other shows afterwards of course and I was very lucky for some of those experiences. One in particular was seeing the sweat come off Tiësto’s brow in an incredibly small rave tent in 2002 as he waved his hand at these two blonde girls that had the even smaller waists. This was years before the dudebros and guidos in the Tri-State Area found him and Tiësto started filling up US arenas like he did the ones back home in the Netherlands.
High school shifted the taste dramatically. It was a change made from the angst-ridden years where my mind and body wanted songs from men like Andre 3000, Christopher Wallace, Maynard James Keenan, Chino Moreno, and Jimmy Page. That big rock and hip-hop kick for most of high school, filled with all the introspection and manufactured anguish an introverted nerdy guy is generally known to have, washed out a lot of drum and bass and trance music from my MP3 players and CD mixtapes.
It wasn’t that something switched in me overnight and I just hated EDM. What occurred was just that there was a mental disconnect, at least to me at the time, of being a fan of high tempo dance music while being a moody little shit, you know? And it was a bit hard to keep your headphones on playing Orbital while your friends blasted screamo and the pop-punk du jour. I stopped going to electronic shows, started going to rock concerts. I loved them as well, but looking back they’ve yet to burn into me like the raves tents and dance clubs.
What kept my body sing electronic, even though I sat in my room alone with my headphones on, came in the gust of one particular song – it keeps happening that way with me, as you’ll see in the next part of this series. That song kept coming to me in small parts placed in scenes of episodes on TV or movies. The bass line crept up slowly until the snare drum came in, then the languid sample loops and fuzzy guitar riff in the background. Then the lyrics came on.
“You…are my angel…”
The song is menacing as all hell while maintaining a seductive cool from the juxtaposition of Horace Andy’s voice. And from there I delved into Massive Attack and by that path I found trip-hop, downtempo, ambient, and all the slower undercurrents of electronic music. Here’s sampler of what I was listening to.
There’s a reason why I bring all this up. It comes because of my writing. As far as I can think of, most of my earliest writing came from the sounds of songs like the ones from the playlist above that came from Bristol or many other parts of the aural umbra. There are times when I hear the rhythmic drums in “Inertia Creeps” that take me to places to stories that are far and away from the song’s lyrics about sex. DJ Shadow’s “Midnight In A Perfect World” served as the theme for a lot of my old poems, if that makes any sense.
Even if all of the stuff I made from that time was garbage – and it was, of course – the music helped start it all, and it was this particular type of music that was the hymn. That was my soundtrack when I was sixteen and an insomniac with too many things that needed to be poured out of my head and onto the screen.
I did eventually get to hear “Angel” live, in 2010 at the Warfield in San Francisco – luckily someone put up a YouTube vid of it. The entire show helped me feel young since I remembered the album came out in 1998 and the crowd must have at least been 35-plus in age. I’m soon to be 27 and I’m listening to “(Exchange)” the final song from Massive Attack’s Mezzanine. Seems like a pretty good way to cap off the post.
It’s safe to assume that if you know me you know that my beloved genre of music is of the electronic variety in all its tastes, perversions, and styles. What brought me back to thinking about it to the point of writing about it was finding this small booklet – a guide to electronic music I grabbed from a Tower Records down in the Village back when I was thirteen. The booklet’s introduction started with the description of an imaginary slide reel that starts with Morse and continues onto Marconi, and then to Theremin before ending with the sound of the Windows operating system. There’s a fun fact about that last part: ambient music virtuoso Brian Eno composed the Windows 95 opening chime – you can hear it slowed down 23 times here.
That booklet intro failed to sink into me back then, seeing as I had no idea who Theremin was. I just flipped through the pages until I reached the section on big beat. That style was the one I first listened to when my sister would play New York radio station K-Rock’s Solid State electronic show on Saturday nights. It was crazy for hear the station switch from Nirvana and grunge ad nauseam as well as a metric crap-ton of U2 to repetitive but mesmerizing sounds with vocals and rock chords that tethered me to the songs.
The first song I heard that had that combination was “Block Rockin’ Beats” by The Chemical Brothers. Big sister had a CD single of the song that she played on repeat some nights. The introductory bass line pounded into my head again and again. She eventually purchased the entire album it was from– Dig Your Own Hole – and I could not stop listening to it. She started switching it up to other big band acts like The Prodigy and Fatboy Slim, but I loved that album to death. Anytime I would hear snippets of their songs in promos and commercials I freaked out – quietly, if I was around my hood schoolmates. The eventual over-saturation of big beat songs did not bother either me or my sister, but we did start going through other paths of electronic music. Still, I cannot help but feel some child-like happiness every time I hear Dig Your Own Hole, and “Block Rockin’ Beats” is a staple on any playlist, mp3 player, and now smartphone that I have ever owned. That song sealed my fate as a disciple to electronic music.
Well, I was not completely sealed. I had not danced to it yet.
My sister started going to concerts a few years later. Somehow, through the grace of God or from my parent’s obliviousness to her taste in music, she took me and my brother to one in September of 1999. It was a school night and she got us tickets to a Chemical Brothers show at Hammerstein Ballroom in New York City. I was twelve at the time, wearing my “best” street clothes and sneakers. The first thing I saw was this tall Brazilian woman waiting on line that had half her hair dyed white. My sister sparked up a conversation with an even-taller Irishman by the name of Damien that was cut short by the doors opening.
We found our way to a close spot to the left of the general admissions floor. Until that point I had not danced in any other way than to slow jams with girls I had crushes on at birthday parties, so when the opening act’s rapid BPM commenced I had no idea what to do. I learned many years later that the opener was trance DJ Paul Oakenfold. You may have heard of his work from that crappy song “Starry Eyed Surprise”, but I assure you his other work is superior. I tapped my feet to the beat while my sister danced with Damien the Irishman. Here I was, this short little Peruvian kid surrounded by a bunch of weird-looking white people dancing in ridiculous ways I had never seen before. So I did as the most likely drugged out New Yorkers in the crowd did and danced equally as silly. Of course I was very ashamed at first, especially since my brother was not dancing and he could use this as blackmail bait back at school. But when The Chemical Brothers showed up on stage, I stopped caring.
Their set began with this hypnotic male Indian voice repeating the word “surrender”, the name of the album they were on tour for. The opening song was “Hey Boy Hey Girl”, and I upped my crazy-dancing the very second it started. This was back when Tom Rowland, one of the Brothers, had long hair so I concentrated on him as he whipped it around while he fiddled with who-knows-what part of the equipment on stage. My head felt fuzzy from the contact high of the crowd’s weed. I do remember dancing in the middle of a circle with some other girls who pushed my dancing to weirder levels. It was a very real and amazing madness.
We got home around three in the morning, my ears ringing and dizzy, and woke up the next day at noon. Thanks to Hurricane Floyd closing school my brother and I had a safe recovery. The malaise stuck with me most of the next two days, but that show was an important revelation to me – I could sort-of dance and that the music I had listened to on the radio and my sister’s boom-box was infinitely cooler than I thought.
Many fans have seen a particular type of Trent Reznor live show in the past when Nine Inch Nails, specifically when you consider ones such as the Lights In The Sky tour. That show had an impressive visual aesthetic, with Reznor and the band in a LED cage producing a variety of visual insanity. The lights and media experience of the How To Destroy Angels show from last night at the Wellmont Theater in Montclair, NJ was a different beast altogether.
The silhouettes of the four members of the collective (with longtime NIN collaborator Alessandro Cortini on backup sound duties) appeared behind a fiber-optic installation that served as the foreground to the visuals controlled in real-time by Rob Sheridan, shifting from art director duties behind the scenes for NIN to performing onstage as part of the group. In a sense, Sheridan was the primal source of power of the whole show. Through his computer equipment he produced spinning isometric shapes and streams of color that came down the fiber-optic wires in ways that were very reminiscent at time of The Matrix. The band’s very attire served as an easel to the electronic spectacle – they all wore a very uncharacteristic white that made all the fans in the crowd wearing black band t-shirts look out-of-place.
Reznor played a more subdued role in comparison to singer/wife Mariqueen Maandig Reznor. She commanded the stage, swaying in her white gown in a way that gave her the appearance of a specter hidden behind the strings. At times the fiber veil retracted and she came out, re-materializing into the scene. One moment in particular was during her performance of “Ice Age” that was so emotion-wrenching she made a few pauses to hold back her tears. On the other side, when the veil moved back in its original position she pushed through its fibers violently as she screamed during “Welcome Oblivion”. Her range of soft melody to industrial shouts showed the difference in the band’s sound in comparison to that of Nine Inch Nails – the unrelenting sound of the latter replaced by an ethereal harshness of the former.
Atari Teenage Riot – Is this Hyperreal?
Most reviewers criticized this album for having a dated political screed and a lack of change in their sound but honestly it doesn’t matter. A great comparison of this album is The Prodigy’s Invaders Must Die. The band always kept true to their sound, with a couple of stumbles with Always Outnumber Never Outgunned aside. They came back out guns blazing, which wont to do for groups like The Prodigy and ATR. “Activate” opens the album with an upgrade to their electropunk sound, but only slightly. Adding CX Kidtronik to the band brought anew kick into the system, and as far as his opening statement on racism and Barack Obama on “Re-Arrange Your Synapes”. Other songs of note are “Black Flags” and “Digital Decay”.
Das Racist – Relax
I don’t even…just get on this. Heems and Kool A.D. are insane on the wordplay ( and that’s not to say anything of El-P’s bars on Shut Up, Man) and their references make Childish Gambino sound like a punk (sorry Donald, stick to funny). Oh, and “Punjabji Song’ is reminiscent of Punjabi MC on Jay-Z’s “Beware the Boys” but this song puts a flag on that then drops 16 weed-filled deuces on it.
DJ Shadow – The Less You Know
OK, I have to finally admit one of my greatest sins: Up until recently, I’ve never had a good pair of headphones. I’ve always rocked the cheap Sony wrap-around blue sports one – it was the only one that’d survive my clumsiness – and now that I have these massive Skullcandy ones with the ultra bass, I’ve heard songs in completely new ways. I’m still not a snooty audiophile (I’m too lazy to convert to lossless formats) but…oh, the drums..the drums on a Shadow song on them.
Truth be told, The Outsider sucked. Only Phonte on “Backstage Girl” and “Artifact” saved that album for me. But from track one on The Less You Know… Shadow established that his scratching is back. The follow-up song”Border Crossing” sound like a poorly made 90s action movie version of “Artifact” (actually, check out “HYPERPOWER” from NIN’s Year Zero if you want a better version of this song). The “Stay the Course” team-up of Posdnuos and Talib Kweli is pretty solid; Kweli especially got to me seeing as he’s been off my audio radar for a minute. It’s amusing that Shadow dropped an emphasis on the lull in the next three songs by putting up a song titled “Tedium”. The slowed down vocals and acoustic guitar on “Enemy Lines” gives the album an Entroducing pick-me-up before the break beats of “Going Nowhere” rolls in. that, along with “Run for Your Life” should get any Shadow fan at attention. Sadly, on “Scale It Back” Yukimi Nagano does her first lackluster performance on a song she’s featured on.
Now, let’s get to the singles. “Def Surrounds Us” renewed my faith in Shadow with his effective use of vocal samples, pounding drum beats, a sprinkle of hyphy and dubstep, and pianos and apocalyptic choir singing. “I’ve Been Trying” was in the first lull I mentioned, so I didn’t realize it was a single. Oh, back the topic of new headphones: listen to the other single “I Gotta Rokk” on them. Trust me on this.
Jay-Z and Kanye West – Watch the Throne
It’ s a little late to review this album without looking like a punk against ones like the fake Ghostface’s review. Instead, I’m just concentrating on the singers. First off, Frank Ocean dominates on his two songs; even if “Made in America” was one of the lesser cuts on WtH, he still delivers on it (and don’t get me started on his hook on my new banger “No Church in the Wild”). Truth be told, the only other ones of note is Elly Jackson of La Roux on “That’s My Bitch” and The-Dream on “No Church…”; I didn’t know that the unintelligible bridge on the “That’s My Bitch” was Bon Iver, nor did I really care. As for Beyonce on “Lift Off’, the song was pretty bad on its own, and she didn’t really help to bring it back. Mr. Hudson’s voice on “Why I Love You” reminds me of how the last time he brought something good to an album is still 808s & Heartbreaks. Oh, and Swizz Beatz needs to stop putting his “talking while straining through a bowel movement” voice all over a track.
Kasabian – Velociraptor!
Halfway through, I stopped listening it and went back to West Ryder Pauper Lunatic Asylum.
Ladytron – Gravity the Seducer
It’s interesting to see the career trajectory of these electro-Liverpudlians, not just in their sound but in their whole look. The aesthetic in their music videos and photos from each album mirrors the songs of the album attached to them. In this album’s case, there is this a baroque, upper-class sound far different from the utilitarian beats in 604 or the cold grinding pulses from Witching Hour. There are some glimpses of Velocifero in “Melting Ice”. Songs like “Altitude Blues” and “White Gold” reinforce an 80s sci-fi soundtrack vibe (even the album art is reminiscent of the opening scene from Blade Runner). One of the biggest issues with the album is that there are too many songs that sound alike; “Ace of Hz”, “Mirage”, and “Aces High (which is just a boring instrumental of “Ace of Hz”) are the culprits of this. Overall, this is not as good as album as the previous one.
St. Vincent – Strange Mercy
It took one song from her Actor album to really make me into a stan for Ms. Annie Clark (go listen to “Laughing With a Mouth of Blood. The title is deceiving.). “Cruel” lets her gets it starting with her great vocals (it kind of reminded me of Feist) on the end of her verses. Then she reminds you “Oh yeah, I still got the grind” on “Cheerleader”. The eponymous track has an 80s synth thing going on until it hits you with her guitar/vocal one-two punch. The album fades out a bit until “Hysterical Strength” which reclaimed my attention with its driving drums and piano.
Watch the Throne is already in my library – hearing Kanye beat out Jay-Z on this (I think that’s intentional, but on the other hand, Jay’s skills are waning) is good enough to make it a keeper. DJ Shadow and St. Vincent stay as well. I can’t say no to Shadow’s masterful sampling/mixing and Annie Clark’s singing/rocking.
Ladytron might grow on me like Velocifero did. We’ll see.
ATR and Kasabian
The second day of Outside Lands started with a quick listen of Grooveshark playlists filled with the bands playing that day. What stuck out from the wave of dubstep and indie rock was Ana Tijoux whispering the hook, “mil noveciento setenta -“. That missing word is the number siete, completing the first single from her album 1977.A French-Chilean MC, Tijoux mixes her down tempo voice with golden age of hip-hop beats. However, her performance was more a testament to her rapid-fire delivery in castellano. The aforementioned song sounds like a sped up South American take on Digable Planets’ “Rebirth of Slick” (trumpet player and everything). The crowd (a mix of locals and affluent Latino graduate students) shouted in all sorts of accents.
Another new surprise was electronic/indie pop band Starfucker (which use the name STRFKR on tour). As you can see by the dress and leggings frontman Josh Hodges is rocking the band is one to see live, not just for the semi-transvestite band members, but for a good performance.
The trek through the camp surrounding center stage on day 2 ( The aging hippies now replaced by Black Keys and teenage Muse fans) was not worth it to see Arctic Monkeys. Their stage presence only went as far as the lead’s leather jacket.Luckily, Australian singer/songwriter Sia was delivering a better show on another stage during the Arctic Monkeys set. In between her songs, she would make casual jokes for the crowd. For example, she pointed out one girl sitting on top of someone’s shoulder, and told the crowd the girl wasn’t wear”It’s pretty cold out, huh? she’s got nipples like bullets out.”
The Roots put on a monster set, which is not surprising if anyone has seen the Illadelph crew live. ?uestlove was the first to get onstage, sporting cornrows instead of his signature afro .At their live shows the star is always “Captain” Kirk Douglas. Between his use of the vocoder on the extended solo he does when performing “You Got Me” and the medley of riffs he plays ( Immigrant Song, Sweet Child of Mine, Bad to the Bone), his part of the set always keeps your eyes fixated on him. Two of the VIP members got on stage, serving as impromptu hypemen surrounding Black Thought as he spit his verses.
As night fell, the glowing spectacle and light show of Muse concert filled up the San Francisco sky. Besides the usual songs and image combinations, like the robot on-screen accompanying “Supermassive Black Hole” (I know this because I’ve seen them two times before. It’s about time I call myself a Muse stan), the new images for song from The Resistance are also very interesting. A wall of head shot photos in a style reminiscent of a concentration camp/suspect mug shots filled the screen, zooming out and forming a mosaic of letters that were too hard to make our from the distance but were interesting all the same.
They performed a cover of The Animals’ “House of the Rising Sun”, which I had only heard on a bootleg. Bellamy’s guitar turned the bluesy intro into a space rock grindfest. The set ended with the extended “Stockholm Syndrome” but the penultimate song, “Citizen Erased” was better if only for the Dominic Howard’s booming drums shaking the ground.
Saludo al coraje de los hombres de Puebla en esta dia,
But what I really want to do today
is go to Saint Helena and throw a party in Napoleon’s cell,
and just to piss his spirit off,
fly back to the States,
and throw an original Memorial Day in our Waterloo.
When I get tired, I’ll make the trip international,
go to Ethiopia, see the second coming of Haile Selassie,
have him lend me a few minutes to sit on his throne
as he puts Kublai Khan’s crown on my head
while Marx takes my oath of office with my hand over On the Origins of Species,
before I throw it at William Jennings Bryan’s head before his opening statement.
Once I become a one-day king,
I’ll send a package of loaded Iranian guns to Oliver North’s house
snitch on his ass and laugh with my friends
as the ATF arrests him on Fox News.
After the antics, go bar-hopping with Kierkegaard
in a free West Germany,
get arrested with Sacco and Vanzetti after too many drinks,
and if I get too rowdy, take a caning on the ass by Singaporean dancers.
I want to start a one-man riot in Greece
just to get an article written by Nellie Bly and Bryan Williams.
I want to rock out to a band with me on guitar,
Ian McCulloch and Adele on vocals,
Bill Ward on drums,
and have the album produced by Delia Derbyshire.
I want to take acting lessons from Roger Rees,
John Rhys-Davies, and Lance Henriksen
just so I can kick Henry Cavill out of his Superman gig.
And then, right before I go to sleep,
wave at Alan Shepard along con mi familia
as Mercury-Redstone 1 blinks its way across the night.
– Note: I just wrote this and cleaned it up five minutes before midnight West coast time while sober. Go me.
It’s another edition of Music OD, and this time instead of waiting a few months, I’m dropping this in just one. Let’s see what I’ve blasting from my headphones this month:
Atmosphere – The Family Sign: I must say, the opening two tracks are suicide-level depressing. The piano and guitar work (the work of Erick Anderson and Nate Collins, respectively) is on point throughout though, especially on “Became” which connects to Slug’s wintry narrative. His flow on that song is on par with “Lovelife” from God Loves Ugly. By the time acoustic guitar on “Who I’ll Never Be” comes up, it becomes apparent that the solo guitar on “Guarantees” from the previous album has stepped up quite a bit. Just keep to those types of songs on this one; the others sound like failed Ant beats or feckless indie rock. Read the rest of this entry