#with the odd inclusion of a new song from one of the same bands

[forestofsprites]

sometimes life is creating a brand new playlist, titling it as such, and then filling it with the exact same songs that you've been listening to for the past decade

#i have 12 sleep playlists #each one is just a slightly different variation of the exact same songs i've been falling asleep to #for a decade #with the odd inclusion of a new song from one of the same bands #i even go back to the sleep playlist that i made in 2013 AND MOVING SONGS FROM THERE TO THE NEW SLEEP PLAYLIST #which is literally called 'new sleep' #comfort in routine etc etc etc #i am the same guy who can listen to maybe five new songs a year absolute tops #thoughts

[hatingwithfears]

U2- SONGS OF SURRENDER REVIEW

“I won’t be me when you see me again”

Bono, “Invisible”

I’ve been a U2 fan for years, and when I put on Songs of Surrender for the first time I thought u2 fans are going to hate this. This band has almost always attempted to push themselves into something different for themselves and for many years that equaled forward thinking production and trying to look ahead into where the band could push themselves next. The prevailing theory is that U2 started really looking back at their career on 2001’s All That You Can’t Leave Behind, but now that the years have settled on that record, I feel it’s clear that U2’s true recognition of their past has come through on their previous two albums, Songs of Innocence and Songs of Experience. These two albums draw from Bono and the band’s past by looking at where the band started.

With the publication of Bono’s memoir, it’s become even more clear that U2 is now deeply embracing their current status as a rock band by taking 40 songs from their catalog and stripping them back, allowing Bono to bring together some new lyrics and some new vocal range that show just how much he’s grown as a singer over all these years.

***

An artist looking back at their own work and finding ways to rebuild them into something else can be frustrating for the consumer of the art, it feels almost sacrilegious to some to change around art once it’s been put out into the world, and yes, a sound recording is usually pretty solid and unchanging once it’s been released (some odd examples to the contrary would be remixes and reissues of older recordings).

Taking these tracks and putting behind some simple acoustic backings could be looked at as a very simple order, with Bono and Edge phoning in some performances to get a record out, but instead the band have taken these songs and pulled back the curtain, revealing the simplicity hiding behind all the big, loud, arena ready rock that U2 is so well known for.

Opening the album with “One” and closing with “40” is a great little wink in the track list, but the entire set flows quite well with a disc for each member of the group (even though the songs were primarily chosen by The Edge). “Where The Streets Have No Name” removes most of the intro, and gives us some light strings hanging in the background. Another song from the same era opens LP4, “With or Without You” contains some acoustic and Bono’s voice practically whispering the first verse of the song before a more typical sound unleashes with drums and electric guitar kicking into the second half of the song, it’s an effective way to shift the song into something more simple, but no less euphoric.

Looking back to the beginnings of the group with the inclusion of songs like “Stories For Boys”, “Out of Control” and “11 O’Clock Tick Tock” (wisely all put together on the first LP of the record) was a surprising way to get things started, Bono’s shifting of time and age directly on the lyrics of “Stories For Boys” works much better than expected. Lyrical changes on “Bad” might be the strongest songwriting in the set, with Bono turning the lyrics about a drug addict into a song about growing old, turning a character study into a personal battle with one’s own pride and the need to continue living and creating.

With so much material to choose from, there’s plenty of room on the set for some deep cuts with most of them showing up on LP’s 2 and 3. “Electrical Storm” works even better with some wisely placed filters on Bono’s voice that give the song just enough of a feel of the original, while Bono’s vocals push more weight here than on the original. The song does an abrupt switch around the halfway point where the song moves into a more electric mode, it does seem a touch too quick with no sort of real build, sounding almost like two songs mashed together.

“Red Hill Mining Town” keeps the horns in the mix and Bono takes just the right step back on the song without making it too soft (the big chorus still packs a punch). The Achtung Baby cut “Until The End of the World” is a pretty obvious inclusion here, with much of the song sticking in place, the song breaks into an acoustic solo that shows how good a guitarist The Edge really is behind all of that studio trickery.

***

Two albums from U2’s discography didn’t get any love on Songs of Surrender, 1981’s October and 2009’s No Line On The Horizon. The latter is a surprising omission on this set, given how mellow many of the songs are and how interesting it would have been to hear these songs stripped of some of the electronic elements.

The two most recent U2 records are given their fair share here, and the results are mixed. “The Miracle (of Joey Ramone)” by removing the chunky guitar sound from the original we get a gentler song that carries the same spirit as the original with a stronger chorus, who would have thought that a calmer tribute to the late Ramones member would actually work better? Well played.

“Every Breaking Wave” and “Song For Someone” are two of the band’s greatest ballads yet, and the songs aren’t changed much at all, because there’s not much to really fix with songs this good. “Every Breaking Wave” does give Bono’s voice a chance to really reach into a higher register towards the end, and it’s an alarming change at first, but it works.

The b-side “Invisible” clears up instantly, with Bono’s voice and lyrics being put in the front of the song, it’s now clear that this once forgettable song was a damn good underneath it all, placing the song as one of the more potent moments on the record.

Another song that didn’t impress originally, “If God Would Send His Angels” from 1997’s Pop, changes around the chord structure with Edge on piano and backing vocals. Sometimes just the slightest of changes can make a world of difference in a song.

***

I‘ve been listening to this record quite frequently since it came out, letting the songs become familiar, or as familiar as I can make them in my mind. Streaming this record has left a few production issues where slightly muddy production pops up from time to time. These very slight gripes are not a big enough issue to fault any particular song, but many of these production issues seem to clear up on the vinyl release. Working with Bob Ezrin on this project has certainly helped these songs sound like the band is right there in front of you, and not to the point where it feels invasive.

By retreading through these songs, U2 have displayed how to reinvigorate years old material, and newer ones to create a smorgasbord of stripped back tunes that brings the group back to the basics of these songs.

Rating: 9.1

#u2 #songs of surrender #album review #bono

[likesomekindofcheese]

hi!! could I request a hc where it's the readers very first acting gig and she managed to land a big role in BoRhap and she's so extremely nervous and kinda avoids the lads when they're not shooting scenes bc she's not on the same "'professional level' as them and the boys thinks she's a snob but she's the sweEtest person, just not sure if she should talk to them or not. And Joe really fancies and helps her around the boys and they end up together? sorry that's so specific and long lol,

Hello there! This is a great hc idea! I will have to take liberties from what the script of BohRap chose to include so that Reader can have more scenes, but thank you!

And also, even though the role for Reader I chose is a white woman irl, let’s stretch our imaginations and imagine whatever race you are that you were cast in that role. I always want my reader-insert writings to be as inclusively written as I can!

You still recalled how your heart lept up to your throat when your agent called you and said that you were offered the brief role of Veronica Deacon in Bohemian Rhapsody. 

You had struggled for years to get into something big. You mostly did smaller parts in smaller theatres and the odd extra gig or two but this was the Queen biopic that everyone had been anticipating for decades and you were going to be a part of it!

But at the first reading, your heart lept into your throat when the director introduced you to the man who was going to be your on-screen husband. Oh my god, he’s actually really cute

“Hi, there! I’m Joe!” he chirruped with a winning smile. You took his hand, as clammy as you felt, and introduced your name in a small voice.

Then as the reading began and everyone introduced themselves around the table, your jaw dropped when you saw who was chosen to play the anticipated lead.

“Rami??? As in, Mr. Robot and Night at the Museum Rami Malek??” you thought in a panic, almost missing the beginning scene where you and John meet at a disco. He’s more handsome in real life than on the tv...

As the reading continued, you were also awed by Gwilym’s reading of Brian. Not only did he look exactly like him but he managed to soften the timbre of his voice to sound exactly like the curly-haired Renaissance man and you were in awe.

Then when you listened to Ben chip in his own lines as Roger Taylor, you couldn’t help but laugh at his comedic timing and a few heads turned when you laughed loudly at one line, and then you looked down on your screenplay in shame. Plus you couldn’t help but oogle his puffy lips and biceps...

Ergo, you were intimidated. They were all more experienced than you (After a quick IMDB search) and they seemed so professional that you had to up your acting game around them.

But it was Joe who gave you butterflies...and you were constantly together.

Though one day when you were blocking the scene where you tell John that you’re pregnant with his child, Joe said that some of the cast members would be going to a fun burger place down the road in London and if you wanted to come over.

Hands shaking, you shook your head no.

So for a while, although they all seemed nice, you admired their goofy antics from afar.

Hmmm, maybe they aren’t gods after all...

After seeing them “sword fight” by swatting each other’s hands and running around, you definitely see that these professionals can have the maturity of middle schoolers sometimes.

So after the scene when you are invited to hear the song “You’re my Best Friend” with your new baby in your arms and you cry from being so moved even though the other band members and their girls are near you, hearing everything.

“Hey! Hey Y/N...are you okay?” Joe asks, seeing that you had tears down your face after “cut!”

“I’m...I’m okay...I’m fine actually!” you answered with a sniffle of your nose.

So they invite you out to coffee...and while you are in line, let’s say somehow Joe is the one who is running short before he can get his favorite drink.

So you step in and go “no, let me take care of it!”

And he goes “oh, no! Don’t!”

“I insist!” you say buying him his coffee and a nice pastry you know he mentioned once.

He is so moved, he gives you a bright smile that could melt a blizzard.

As you gather together, you find them relatable, funny, and down to earth, They let you talk and don’t interrupt or exclude you. You feel like you’re on the air.

And it’s Joe who helps you. He stands up for you when someone accidentally talks over you, he stares into your eyes and you look at his back.

Once everyone leaves, you find that you and Joe stay after and keep talking.

Then Joe says “so...do you wanna continue this? Same time, same place?”

And let’s just say, being lovey-dovey with Joe on camera as going tp be a lot easier now.

Taglist” @retropetalss @queenlover05

#carrie writes #joe mazzello #joe mazzello fanfic #joe mazzello x reader #joe mazzello x y/n #joe mazzello x you #joe mazzello x fem! reader #joe mazzello x fem! y/n #joe mazzello fluff #joe mazzello imagine #bohrap imagine #bohrap #bohrap boys #bohrap boys x reader #bohrap boys x you #bohrap boys x y/n #bohemian rhapsody #joe mazzello fanfiction #joe mazzello headcanon #joe mazzello hc #joe mazzello hcs #joe mazzellos headcanons

[dustedmagazine]

Punk’d History, Vol. VIII: This Machine [blank] Fascists

Photo by Richard Young

It has the appearance of a worrisome pattern: any number of punk rock’s founding figures embraced the symbolics of Nazi Germany. Ron Asheton, an original and indispensable member of the Stooges, played a number of gigs wearing a red swastika armband, and liked to sport Iron Cross medals and a Luftwaffe-style leather jacket. Sid Vicious loved his bright scarlet, swastika-emblazoned tee shirt, and Siouxsie Sioux, during her tenure as the It-Girl of the Bromley Contingent, mixed her breast-baring, black leather bondage gear with a bunch of “Nazi chic.” And how many early Ramones songs (inevitably penned by Dee Dee) referenced Nazi gear, concepts and geography? “Blitzkrieg Bop,” “Today Your Love, Tomorrow the World,” “Commando,” “It’s a Long Way Back to Germany,” “All’s Quiet on the Eastern Front,” and so on—for sure, more than a few.

“Appearance” is the key term. Poor Sid lacked the sobriety and smarts to have much of a grasp of fascism as an ideology. Siouxsie was just taking the piss, and gleefully pissing off the mid-1970s British general public, for much of whom World War II was still a living memory. Asheton and Dee Dee? Both were sons of hyper-masculine military men. Asheton’s father was a collector of WWII artefacts, and the guitarist shared his father’s fascination. When the Stooges adopted an ethos and aesthetic hostile to the late-1960s prevailing Flower Power rock’n’roll subculture, the Nazi accoutrement seemed to him fitting signs of the band’s anger and alienation. Dee Dee hated his father, an abusive Army officer who married a German woman. Dee Dee spent some of his youth in post-war West Germany, in which Nazi symbols were highly charged with anxiety and vituperation. Casual veneration of Nazis was a convenient way to reject the triumphal ennobling of the Good War, and of the military men associated with its traditions. And (as Sid, Siouxsie and Asheton also noticed) it really bothered the squares. 

None of that makes the superficial use of the swastika or phrases like “Nazi schatzi” any less offensive — it simply underscores that in the cases noted above, the offense was the thing. The politics weren’t even an afterthought, because the political itself had been dismissed as corrupt, boring or simply the native territory of the very people the punks were striking out against. If that’s where the relation between punk and fascism ceased, there wouldn’t be much more to write about.

The post-punk moment in England provided opportunities to rethink and restrategize the nascent détournement of Siouxsie’s fashionable provocations. Genesis P-Orridge and the rest of Throbbing Gristle were a brainy bunch, and their play with fascist signifiers was a good deal more complex. The band’s logo and their occasional appearance in gun-metal grey uniforms clearly alluded to Nazism, with its attendant, keen interests in occult symbols and High Modernist representational languages. TG’s visual gestures were also of a piece with an early band slogan: “Industrial music for industrial people.” Clearly “industrial people” can be read as a highly ironized coupling: the oppressed workers marching through the bowels of Metropolis were a sort of industrial people, reduced to the functionality of pure human capital. TG seemed to impose the same analysis on the middle-managers of Britain’s post-industrial economy, and their uncritical complicity in capital’s cruelties. But it’s also possible to argue that industrial people are industrious people; like TG, industrial people (middle managers, MPs) can get a lot of stuff done. They can produce things. They can make the trains run on time. And what sorts of cargo might those trains be carrying? What variety of conveyance delivered the naked “little Jewish girl” of “Zyklon B Zombies” to her fate?  

To be clear: I don’t mean at all to suggest that TG was a fascist band. Like their punky contemporaries, TG traded in fascist iconography in a spirit of transgressive outrage, expressing their hot indignation with equally heated symbols. And other British post-punk acts flirted with fascist themes and images, ranging from ambiguous dalliance (Joy Division’s overt references to Yehiel De-Nur’s House of Dolls and to Rudolph Hess; and just what was the inspiration for Death in June’s band name?) to more assertive satire (see Current 93’s appealingly bonkers Swastikas for Noddy [LAYLAH Antirecords, 1988]). But a more problematic populist undercurrent in British punk persisted through the late 1970s. The dissolution of Sham 69—due in large part to the National Front’s attempts to appropriate the band’s working-class anger as a form of white pride—opened the way for a clutch of clueless, cynical or outright racist Oi! bands to attempt to impose themselves as the face of blue-collar English punk. And literally so: the Strength through Oi! compilation LP (Decca Records, 1981) featured notorious British Movement activist Nicky Crane on its cover. It didn’t help that the record’s title seemed to allude to the Nazis’ “Strength through Joy [Kraft durch Freude]” propaganda initiative.  

Of course, it’s unfair to tar all Oi! bands with an indiscriminate brush. A few bands whose songs were opportunistically stuck onto Strength through Oi! by the dullards at Decca Records — Cock Sparrer and the excellent Infa Riot — tended leftward in their politics, and were anything but racists. But for a lot of the disaffected kids sucking down pints of Bass and singing in the Shed at Stamford Bridge, it wasn’t much of a leap from the punk pathetique of the Toy Dolls to Skrewdriver’s poisonous palaver.  

In the States, a similarly complicated story can be recovered:

In numerous ways, hardcore intensified punk’s confrontational qualities, musically and aesthetically. The New York hardcore scene made a fetish of its inherent violence, which complemented the music’s sharpened impact. So it’s hard to know precisely what to make of the photo on the cover of Victim in Pain (Rat Cage Records, 1984). If inflicting violence was an essential element of belonging in the NYHC scene, with whom to identify: the Nazi with the pistol, or the abject Ukrainian Jewish man, on his knees and about to tumble into the mass grave?  

Agnostic Front seemed to provide a measure of clarity on the record, which included the song “Fascist Attitudes.” The lyric uses “fascist” as a condemnatory term. But the behaviors the song engages as evidence of fascism are intra-scene acts of violence: “Why should you go around bashing one another? […] / Learning how to respect each other is a must / So why start a war of anger, danger among us?” That’s a rhetoric familiar to anyone who participated in early-1980s hardcore; calls for scene unity were ubiquitous, and the theme is obsessively addressed on Victim in Pain. But the signs of inclusivity most visibly celebrated on the NYHC records and show flyers of the period were a skinhead’s white, shaven pate; black leather, steel-toe boots; and heavily muscled biceps. Those signifiers clearly link to the awful cover image of Strength through Oi! The forms of identity recognized and concretized in the songs’ first-person inclusive pronouns have a clear referent. 

Agnostic Front wasn’t the only NYHC band to refer to and engage World War Two-period fascism. Queens natives Dave Rubenstein and Paul Bakija met at Forest Hills High School—the same school at which John Cummings (Johnny) befriended Thomas Erdelyi (Tommy), laying the groundwork for the formation of the Ramones. Rubenstein and Bakija also took stage names (Dave Insurgent and Paul Cripple) and formed Reagan Youth. But unlike the Ramones, there was nothing tentative or ambivalent about Reagan Youth’s politics. Rubenstein’s parents, after all, were Holocaust survivors. The band’s name riffed on “Hitler Youth,” but specifically did so to draw associations between Reagan and Hitler, between American conservatism’s 1980s resurgence and the Nazi’s hateful, genocidal agenda. Songs like “New Aryans” and “I Hate Hate” accommodated no uncertainties.  

Still, it’s interesting that Victim in Pain and Reagan Youth’s Youth Anthems for the New Order (R Radical Records, 1984) were released only months apart, by bands in the same scene, sometimes sharing bills at CBGBs’ famous matinees of the period. And while Reagan Youth toured with Dead Kennedys, it’s Agnostic Front’s “Fascist Attitudes” that’s closer in content to the most famous punk rock putdown of Nazis.

It’s odd what comes back around: Martin Hannett, whom Biafra playfully chides at the track’s very beginning, produced much of Joy Division’s music, moving the band away from its brittle early sound to the fulsome atmospheres of the Factory records, and to a wider listenership. “Nazi Punks Fuck Off” similarly addresses a formerly obscure, tight scene opening to a greater array of participants, some of whom were attracted solely to hardcore’s reputation for violence. Like “Fascist Attitudes,” the Dead Kennedys’ song itemizes fighting at shows as its chief complaint, and as a principal marker for “Nazi” behavior. Biafra’s lyric eventually gets around to somewhat more focused ideological critique: “You still think swastikas look cool / The real Nazis run your schools / They’re coaches, businessmen, and cops / In a real fourth Reich, you’ll be the first to go.” The kiss-off to punk’s vapid romance of the swastika (it “looks cool”) complements the speculative treatment of a “real fourth Reich.” Both operate at the level of abstraction. The casual, superficial relation to the symbol’s aesthetic assumes a sort of safety from the real, material consequences of its application. And the emergence of a fascist political regime is dangled as a possible future event. That speculative futurity undoes the “real” in “real Nazis.” The threat is ultimately a metaphorical construct. The Nazis are metaphorical “Nazis.”  

Still, it’s the song’s chorus that resonates most powerfully. So much so that the song has found its way into other artworks.

Jeremy Saulnier’s Green Room (2015) is frequently identified as a horror film on streaming services. We could split hairs over that genre marker. The film gets quite graphically bloody, but there’s no psychotic slasher killer, no supernatural force at work. And cinematically, the film is a lot more interested in anxiety and dramatic tension than it is in inspiring revulsion or disgust. It terrifies, more than it horrifies. What’s especially compelling about the film (aside from Imogen Poots’ excellent performance, and Patrick Stewart’s menacing turn as charismatic fascist Darcy Banks) is its interest in embedding the viewer in a social context in which the Nazis are a lot less metaphorical, a lot more real. In Green Room, the kids in the punk band the Ain’t Rights are warned about the club they have agreed to play: “It’s mostly boots and braces down there.” And they understand the terms. What they can’t quite imagine is a room — a scene, a political Real — in which fascism is dominant. Their recognition of the stakes of the Real comes too late. The violence is already in motion. In that world, the Dead Kennedys song provides a nice slogan, but symbolic action alone is entirely inadequate.  

OK, sure, Green Room is a fiction. Its violence is necessarily aestheticized, distorted and hyperbolized. But perhaps the film’s most urgent source of horror can be located in its plausible connections to the social realities of our material, contemporary conjuncture. You don’t have to dig very deep into the Web to find thousands of records made by white nationalist and neo-fascist-allied bands, many, many of which deploy stylistic chops identified with punk rock and hardcore. You can listen. You can buy. (And yeah, I’m not going to link to any of that miserable shit, because fuck them. If you do your own digging to see what’s what, be careful. It’s scary and upsetting in there.) It feels endless. And the virulent sentiments expressed on those records are echoed in institutional politics in the US and elsewhere: Steve King (and now Marjorie Taylor Greene, effectively angling for her seat in Congress), Nigel Farage, Alternative für Deutschland, elected leadership in Poland and Hungary. Explicit white supremacist music also has somewhat more carefully coded counterparts in much more visible media (the nightly monologuing on Fox News) and in very well-positioned, prominent policy makers (Stephen Miller, who’s on the record touting “great replacement” theory and is a big fan of The Camp of the Saints). It’s a complex, ideologically coherent network, working industriously to impose and install its hateful vision as the dominant political Real. 

Sometimes it feels as if no progress at all has been made. Maybe we’re moving toward the reactionaries. Contrast Skokie in the late 1970s with Charlottesville in 2017. And now if the Neo-Nazis have licenses for their long guns, they can strut through American streets wearing them in the name of “law and order.” It’s even more disturbing that a subculture that wants to clothe itself in “revolution” and “radicalism” is so tightly in league with institutional politics. Say what you will about Siouxsie’s Nazi-fashion antics, no one suspected that her prancing echoed political activity, policy-making or messaging in Westminster.

So what’s a punk to do? It’s certain that a vigorously free society needs to preserve spaces in which unpopular speech can be uttered and exchanged. Punk should pride itself on defending those spaces. But speech that operates in conjunction with an ascendant political power and ideological agenda doesn’t need defense or energetic attempts to preserve its right to existence. In October of 2020, that speech (in this case, speeches being written by Miller, texts by folks who have spent time in Tucker Carlson’s writer’s room and songs by white supremacist hardcore bands) has become synonymous with political right itself.  

So now more than ever, it’s important to be active in the public square, to stand up to the fascists and to say it, often and out loud:

Jonathan Shaw

#dusted magazine #punk'd history #jonathan shaw #punk rock #siouxsie and the banshees #throbbing gristle #agnostic front #dead kennedys #green room #mdc

[rockandrollfool]

Stay Beautiful

When one considers representation and inclusion within the arts then it seems there is a huge omission in relation to people with a learning disability. Goddard (2014) argues that people have very little or indeed no say in the in the development of the inclusion agenda when considering the professional arts from a UK perspective. The lack of any real and meaningful engagement with the arts would undermine any notion of being taken seriously as a starting point. The field is highly competitive and success is often based on existing relationships. Menger (2006) asserts that any work or opportunity is generally 'piecemeal' this then links to reputation or standing within the immediate community or group. Accordingly this then serves to magnify the power of differences in talent and work opportunity to increase inequality.

When considering people with a learning disability as a "professional artist" then one could argue that identity and the ability to grow and understand self are the prerequisite within "creative learning" but if as Menger offers the field is limited then how are people going to access the chance to perform on their own terms and equally develop a sense of self value as an artist? Fundamentally if access is the issue then where are the spaces where people can access the arts and contribute on equitable terms? 

I was introduced to the “Nice n Sleazy” festival four years ago and it has been overwhelming watch it grow and develop. The festival is named after The Stranglers hit song from 1978 and has been part of the live music scene for fifteen years. I initially I thought it was a 'punk' festival though defining that term is virtually impossible. Tait Coles (2014) refers to punk as a state of mind" and attitudinal. Danny Baker writing in 1977 in the D.I.Y magazine 'Sniffing Glue' argued it is "something new" and furthermore that confusion is all part of the underlying philosophy of the movement and therefore "f*ck it, you go and figure it out" Baker (2104)

With this in mind then what has been created by the organisers is a music festival. The difference here however is that it is evident that the team have adopted an approach to support equality, diversity and inclusion through their own understanding and definition of punk. If ‘actions speak louder than words’ then one can see the huge push to creating a space that is safe for all. It equally provides opportunities for employment and performance and then sets the scene for four days of music and entertainment.

In 2019 the festival was awarded ‘Disability Confident’ status. The tangible reality of this is that people with learning disabilities both perform and work on site For the full duration of the event. The Disability Confident scheme claims to support employers "to make the most of the talents disabled people can bring to the workplace" (on-line 2020) Moreover the scheme is seen as a way of addressing how employers engage with people with a disability.

According to the web-site there are 8.1 million people in the UK that have some form of disability. Defining disability can be problematic however Shakespeare and Watson (2001) perceive the term as complex and assert that one cannot reduce a definition to just biological circumstances. Equally important are psychological and socio-political factors”. This seems to capture the idea that a disability could be a social construct, Hiranandani (2005) and here in is the overriding philosophy of the Festival. 

When viewed through this prism 'disability confident' argues that by adopting more inclusive strategies for support then an organisation can change behaviour and cultures within "businesses, networks and communities “on line (2020) The reach is measured way beyond the immediate employer. By embracing inclusivity and by people having a visible and valued presence the potency of the message is magnified. 

Running parallel with this is the notion that whilst exploring and having access to arts people with learning disability have a very real chance to "express themselves through different creative opportunities and media.  According to idonline.org (2020), people can "gain confidence" in terms of self-development. More importantly though is the idea of the person being seen and valued as an artist or performer in their own right. Creating our own selves through the arts reflects Stuart Hall’s concept of identity being understood as identification, that is an evolving process rather than a fixed identity that is often ascribed to us by society and particularly for people with a learning disability (Hall, 1990).

Whilst trying to steer clear of labels, Becker (1963) and being mindful of respecting how people may want to self-define it is noticeable that "Sleazy" has given a platform and equal standing to the following bands 

The Ec-Tix  https://en-gb.facebook.com/ECTIX/

The Positives  https://en-gb.facebook.com/pg/ThePositives3/about/

 The Dead Rejects  https://www.facebook.com/deadrejects/

Clan Of Anarchy  https://en-gb.facebook.com/officialclanofanarchy

It is easy to see why the bands sit well within the festival due to their own punk ethos. Aligned with this therefore one could argue that "Sleazy" is a world away from how other festivals organise and promote what they do. There is no fuss and no huge banner proclaiming and asserting inclusivity.This reflects Beresford and Croft’s ‘democratic / citizenship’ approach to inclusion that emphasises people’s rights as citizens (as artists) to create and set their own agenda and identities, rather than as ‘consumers’ or ‘service users’ to be consulted in an often reactive manner to ‘tick the box of inclusivity’ (Beresford & Croft, 2003).

This philosophy is captured perfectly by Pauline Murray lead singer of Penetration who when asked what is it like being a woman in rock offered she never considered her gender an issue. Murray explains "I just thought I was part of the band" in retrospect however "it seems quite revolutionary, the way women were behaving. Females in bands were breaking down stereotypes" PR Intern (2017) Could the same be said of the bands appearing at Sleazy?

If pushed it is doubtful the bands above would describe themselves as having a learning disability. The idea that a group of musicians would want to be categorised in this way seems wholly at odds with my understanding of the rock persona. Joe Strummer of The Clash in defining 'self-awareness suggested it has something to do with 'an ability to trust your own judgement' and more importantly "an ability think for yourself" as cited in Coles (2014)  The chances are the respective bands just want to be musicians, performers and artists and consequently this is how they see themselves.. Doubtless that is exactly how the promoters at "Sleazy" make sense of it all. One is left to ask therefore, is there any other way to see it? 

I wanted to do a piece here about inclusivity within the arts and I have focused on this festival as the yard stick by which others could measure their impact. In considering Sleazy I haven’t spoken about the broad range of opportunities it presents for people (with a learning disability) to work as sound engineers, stage managers, lighting technicians, stage runners and the wealth of talent it embraces to do this. 

I haven’t discussed how the festival supports and promotes the White Ribbon Campaign which was founded in 2005 and is "part of a global movement concerned with ending male violence against women. “Much of the work we do is concerned with engaging men and boys regarding attitudes and behaviours, raising awareness, influencing change and providing resources to make change happen in relation to domestic violence and abuse of women and girls" White Ribbon.org.uk (2020) 

I also would have wanted to raise the work that Sleazy have been doing since 2016 in promoting The Sophie Lancaster Foundation. As part of their developing agenda regarding equality and diversity the organisers have been instrumental in challenging ‘hate crime’. This has allowed a further opportunity to increase and raise awareness and address discrimination and prejudice on an individual basis. Sophie Lancaster was a young woman that was murdered and her death was treated as a Hate Crime by Judge Russell who sentenced the murderers accordingly. Under the current UK Hate Crime Legislation (Section 146), as the motivation behind the murder was hateful, he was able to use his discretion to class it as a "Hate Crime". The work the foundation does focuses on creating respect for and understanding of subcultures in our communities. Where better to do that than at a punk festival?

It is probably worth mentioning that the team also support Morecambe food bank. There is a donation point in the foyer at the festival where food can be left and once the weekend is over the donations are then transported to the charity. Again this evidences how “Nice n Sleazy” has an alternative perspective when considering how to promote and host a music festival.

The tangible reality of this is not only do people with learning disabilities perform and work on site during the weekend, there is a massive emphasis on inclusion, diversity and equality.  This is a world away from how other festivals organise and promote what they do, so in conclusion one could say “Nice and Sleazy does it every time” The Stranglers (1978)

The Rock And Roll Fool

#rocknroll #festivals #indy #punk #equality #rights

[sjrresearch]

Why Not Wargame World War I or Vietnam?

Historical Wargaming, like many hobbies, has fads. One year, Ancients might be big, or it may be Colonials. The next, World War II. But two periods have not, at least in my own observation, gotten their day in the sun. At least not in US wargaming circles (and I will be speaking almost exclusively to that, as I am less familiar with, though still knowledgeable of, the British wargaming scene). 

These periods are the First World War and Vietnam. Both were major conflicts with plenty of research materials available (unlike, say, the Grand Chaco War). Both have libraries of rules and boardgames written for them, but neither, at least not at the cons I’ve attended, are quite the attention-getters that other conflicts do. Why is this? I have some theories as to why.

Just a disclaimer, this is mostly an opinion piece, and your mileage may vary. 

American and British Views of the First World War and Vietnam

Let’s face it. Most American wargamers are patriotic folks. We want to play wargames where “our boys” feature prominently. World War II more than fits that bill. World War I does not. By the time the American Expeditionary Force arrived in France in strength in early 1918, the German Army was on its last legs. The Americans arrived in theatre in time to push the Germans off the proverbial cliff when the last German offensive in the west failed. Our active participation in the First World War was barely six months. Our fleets fought no major battles, and by the time we were shuttling troops to Europe, the U-Boat and raider menace was a shadow of what it used to be. In the air, American heroes were made, such as Frank Luke and Eddy Rickenbacker, but they, too, missed the worst of the Allied fortunes of the previous year.

In short, while American forces improved the overall strategic position of the Western Allies, the US Army was poorly prepared for the modern battlefield. Many of the American offensives, in the beginning, used the same types of massed frontal assaults that the British and French had abandoned the previous year due to the horrific casualties involved. The US Army often had to buy equipment from the British and the French to supplement their own needs, as our own industry had not geared up for war by the time the war ended.

In short, our role in the First World War was a minor one, relatively speaking. And that carries through to American wargamers. British wargamers learned a quite different lesson about the First World War from their school classes and their families than we did. We had 4 million men in the military for the First World War, half of that went to France, and half of that saw any combat. Compare that with the Second World War, where you had 15 million Americans in the military. So, for many wargamers of a certain age, they were more likely to have a World War II veteran in the family at some point than a World War I veteran. 

In Britain, this was different. Over 5 million men in Great Britain enlisted, which was almost 25% of the male population at the time. Add in the fact that the British lost almost 750,000 men worldwide over four years and the United States lost 110,000 in the space of five or six months, a different image of World War I appears. In the US, it is a conflict we do not game much because nobody pays much attention to it (though, with recent movie releases such as 1917, this seems to be changing). In Britain, World War I is seen as a national tragedy. It is of boys being sent off to the slaughter at places like the Somme and Passandachele. And since Britain is in many ways the “mecca” of hobby wargaming, it is inevitable that a feeling of “No, that’s just not something we want to game out” took hold for an awfully long time.

Moreover, the Western Front was not a war of movement except at the very beginning and end. That is why most boardgames on World War I tend to concentrate either on other theatres (the East is extremely popular), 1914 or 1918. Miniatures games tend to center around the same, or game out the war in the air or at sea. 

Vietnam is the opposite in so very many ways. American participation in the conflict was massive from the beginning, and the conflict lasted ten years. Approximately 2.7 million Americans served in Vietnam, and the war showcased some advanced weapons systems on both sides. But it was an unpopular war at home that tore the social fabric of the time asunder. Wargaming in this country truly came of age in the 1970s, and Vietnam was still seen as a “dirty” war, again, one not worth gaming. In British wargaming circles, Vietnam has been big and never really stopped being big. I remember all my British “glossies” (slang for the British Wargaming magazines, named as such for their glossy covers) full of articles on Vietnam. 

There was a small uptick in gaming Vietnam in the mid-to-late 1980s in this country, as various movies came out from Hollywood, but the nature of the conflict is not easy to game. Vietnam epitomized the old saying about combat: “Long periods of boredom punctuated by short, sharp moments of sheer terror.” There were long periods of time where patrols would go out and find…nothing. Then a patrol would go out, and all hell would break loose. That is not easy to game. That is the larger truth at the tactical level about counterinsurgency. It’s not how many guerillas you kill, but it’s what you do to use “soft power” to undercut their support. That said, I have seen some good miniatures games on the subject, but most board games on Vietnam seem to be focused on the strategic and operational levels. 

Add in the popular beliefs about Vietnam and the men who fought there. None of them were true, but the media popularized them in the day, and popular opinion demonized the soldiers who fought there. Going back to fads, it was not hard to see why American wargamers to this day get a little queasy about gaming Vietnam.

Availability of Games and Miniatures

I am happy to say that times are a-changin’, as the old protest song from the Vietnam-era goes. Perhaps with World War I, there are no veterans in living memory, and there’s better history being done now (especially new history on the tactical innovations developed on the Western front putting an end to the pernicious myth of half-trained boys being slaughtered by uncaring commanders). And with Vietnam in this country, we are starting to see more Vietnam veterans opening up about their experiences and game designers and rules writers listening to them. 

So, here is an overview of what is out there both board gaming and miniatures-wise:

Board Games World War I

Ted Racier has written quite a few games on the First World War. It is not a period I game for the most part, but I played the 1918 game back when he published it in Command magazine. I personally think it was one of the three best games Command ever published, and I am glad to see GMT is bringing it back.

We all know what I think of this game, and I think it was a welcome window into the strategic realities of World War I. It is still one of the best Card Driven Games of all time.

I do not own this game, but the premise of doing a worldwide game of the First World War does intrigue me. It seems to put proper focus on economics and diplomacy, with the war of movement slowing down into an attritional model. All in all, it looks good, but if someone who has played it could let me know how it plays, that would be appreciated.

This game has been out for a while, and I had also heard a lot of buzz about it when it was released. Clash of Arms could have had a solid game in this, and I played it once. The rules needed a lot of work and probably could have used the “living rules” concept that other game companies used.  

Board Games Vietnam 

A note, this is not all-inclusive as there are a lot of Vietnam board games out there. I had to cherry-pick which ones would be of the widest possible interest. 

For a while, this game by Victory Games was the game on the Vietnam War. It was truly a monster game and covered every aspect of the war, from pacification to how dedicated the combatants were. It was well-designed and state of the art for its time. Sadly, it is out of print and not cheap to come by, but it is worth it if you can find a copy.

Downtown is probably one of the best games on what goes into planning and running an air campaign out there today. GMT still has the game in print (it is one of two games on Vietnam I own), and I have played it on VASSAL a few times. I really do like it. The designer, Lee Brinscombe-Wood, has gone on to write An Elusive Victory (The Arab-Israeli wars in the air) and The Burning Blue (The Battle of Britain), and Red Storm (A hypothetical Third World War in the skies over Germany) were also written all using the same rules system. The game details well the frustrations faced by the Americans over the skies of North Vietnam. You can purchase a copy here.

Mark H. Walker did some really neat work with his Lock ‘N Load series, and one of the first games in the series was about Vietnam. Lock N’ Load is a system that is at the same level as Squad Leader but is a bit simpler to play, but no less nuanced nor fun. I own the 1st Edition of Band of Heroes and will one of these days go out and get the new versions of the series. All of them play the same, with an emphasis on putting tactical decisions into the hands of the player, keeping the game moving and fun, with most scenarios taking no more than an hour or two. You get all the troop types: US Army, USMC, ARVN, NVA, VC, and yes, even Australians (for those wanting to game out the movie Danger Close). You can get a copy here. 

Meatgrinder is a game from the folks at Against the Odds magazine about the last stand of the ARVN at the town of Xuan Loc in 1975. The rules are beautifully written, and the articles that come with the game are incredible reading at times. It is games like this that remind us that there was still a war going on after the US pulled out in 1973, and the fall of South Vietnam had consequences. And it is just a great story of a hell of a stand. You can purchase a copy of the issue and the game here.

This was the game that was on everyone’s minds when it came out in 2014. The COIN series is an innovative set of games designed around a common rule set that games out insurgencies like Cuba in the 1950s, Columbia in the 1990s, and Afghanistan today, as well as Vietnam. I have yet to play any of the COIN games, but I want to. They are all highly recommended and address the problem of counterinsurgency quite well in a strategic context. You can purchase a copy here.

Miniatures Rules for World War I and Vietnam

Richard Clarke has a reputation with Too Fat Lardies for putting out good rules with card-driven mechanics. It is not everyone’s cup of tea, but it can produce a good game. I haven’t played Through the Mud and the Blood myself, but it has very good information on the various armies of the Western Front and the tactics they used, with the rules author making a fine argument that the tactical innovation opened up the stalemate of the Western Front in 1918 (it did). Too Fat Lardies’ products can be found all over the internet or in PDF or physical format on their website.

Peter Pig’s rules are meant for larger-scale fights, where each stand of troops is about a company in size, and the 6’x4’ board is sub-divided into squares and plays something like a board game. I will not say it is my cup of tea but may swear by it. You can buy digital copies via Peter Pig.

There are several rules for World War I also on Wargames Vault, and some, like Westfront, sound intriguing, but take a look for yourself.

Even though Force on Force is still sadly out of print, their Vietnam sourcebook and rules were probably one of the best rules sets out there for gaming the Vietnam war. Happily, PDF copies are still available for sale from the publisher for $20.00. You will need the base rules to play as well, but those are also available on PDF from the publisher.

Two Hour Wargames (THW) has been blurring the line between RPGs and Wargames for a while now and promising (and delivering) games in under two hours. Their Vietnam game is no different, as the game is centered around the idea of your “character” controlling a squad, and like most THW products, the game has very simple rules. There is also a campaign generator for scenarios you can play out on the tabletop. It is a great fun, pulpy take on Vietnam and is well worth the $20.00 price tag. The rules are for sale in PDF and can be found here.

Next week, we’ll discuss miniatures themselves, as that’s going to take an entire article in its own right!

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At SJR Research, we specialize in creating compelling narratives and provide research to give your game the kind of details that engage your players and create a resonant world they want to spend time in. If you are interested in learning more about our gaming research services, you can browse SJR Research’s service on our site at SJR Research.

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(This article is credited to Jason Weiser. Jason is a long-time wargamer with published works in the Journal of the Society of Twentieth Century Wargamers; Miniature Wargames Magazine; and Wargames, Strategy, and Soldier.)

#wargaming #vietnam war #world war I #history

[dentalrecordsmusic]

My Chemical Romance Was an Excellent Band and You're Not Special for Shitting on Them

There was a time when I was extraordinarily uncool. Around age 11 my fashion sense was a mess, my hair was messier, and I listened to My Chemical Romance. 2004. What a year. I was bullied for a lot of things, from my big belly and lil tiddies to my love for these pants. But most especially, I was bullied for my taste in music (no, I’m serious).

I have a distinct memory of a boy who (shall not be named) (thought Billy Talent was the best band ever) would stuff notes in my middle school locker telling me to kill myself because I was an “emo shithead” who listened to MCR. I remember one girl at sleep away camp (I’ll name her) (it was Serina) (she won’t read this) who had a lot to say about my “fat ass” and even more to say about my passion for music, which was dubbed “whiney screaming boy band garbage.” Good times. 

I wrote an article last year about my trials and tribulations with what has been christened “mall emo” and I found out that not only was I accompanied in my laments, but there were literally thousands of people who went through similar things as pre-teens. The difference was, I was bullied into believing that My Chemical Romance was embarrassing. That there were not worthy of praise, and rather, they were something to be ashamed of. Don’t give anyone the idea that you like them. They will make fun of you. They will make you feel stupid. My secret of loving this band became a sinking feeling in my stomach. This feeling followed me through college and beyond. 

The truth was, My Chemical Romance wasn’t just a good band. They were very good. So good that people, to this day, continue to run fan blogs about them despite the fact that they’ve been broken up for like, five (almost six) years. Fans are making their own merchandise. They’re starting podcasts. They’re starting bands. They’ve been following MCR since age 11 like me, or they’re discovering them now as high schoolers, and now, they’re reflecting on how groundbreaking, magnificent, and prolific this band was. It’s not simply teen angst driving them. These fans are older now. They’re looking beyond that and seeing My Chemical Romance for what they were: poetic, theatrical, sincere music. 

From the beginning, they wanted to start a band that sounded like if “Morrissey had joined The Misfits” and they achieved that through their songwriting, expressive creative vision, and their dynamic performances whether they were playing to ten kids in a basement in Philly or a packed arena in Mexico City. There are a plethora of tracks in their discography that illustrate this, but “Thank You For The Venom” is perhaps the most obvious nod to Moz and Jersey’s horror punk band. Later in their career, they took on a bigger, brighter, arena-filling Queen-inspired sound with The Black Parade and broke down barrier after barrier in terms of career success. Later, they brought pop back into the mix on Danger Days and inspired so many with a beautiful apocalyptic concept which brought us the comic books. Conventional Weapons came around and we were faced with another realm of MCR — one that was dirtier, grittier, and yet still uniquely them. 

The roses in the sink. The night vision photoshoots. The blood-drenched magazine covers. The intensity of their music videos. Their old website. The merch and the album booklets and the show posters and the backdrops. The band had every hand in what they visually stood for. It was impressive and almost insane how much work and attention and thought was put into how they were visually perceived. My Chemical Romance took on each new album like one would approach a cohesive feeling — each was its own separate art project with a distinct manifestation. They captured pain and suffering and also valor and heroism all in the same vein. They were stunning. 

Gerard Way was an exceptional frontman from his effortless highs to his on-the-brink-of-death lows. Throughout the entirety of his career with MCR, he was acutely aware of himself and what he represented to millions of fans around the world. A powerful symbol of what it means to face adversity and to be unafraid to "keep on living." On the opposite side of the coin, he was an Iron Maiden and Morrissey fanboy with a deep love for Dungeons & Dragons. He loved his grandma. He wore his heart and every other internal organ on his sleeve. He fought against many things: misogyny, mental health stigma, homophobia, transphobia. Way stood for inclusion and acceptance against all odds, especially during a time when bands were still asking girls to show their tits on camera for backstage passes. 

“You’re not in this alone” was the first MCR lyric ever written from the song “Skylines and Turnstiles." It became the main idea behind the band, as well as a mission statement for them to stand on if they ever lost sight of what was important to them. More importantly, My Chemical Romance never shied away from how enthusiastic their fanbase was (and still is). “Sometimes, honestly, I feel like we’re moderating a support group,” Gerard Way told Spin in 2007. “We tap into dark stuff from the high school years, and it’s our responsibility to bring kids to a positive, nonviolent solution.” They took responsibility for their actions, never faltering on their goals, and they always made kids feel less alone. “It's okay to be fucked up, 'cause there are five guys in this band who are just as fucked up as you but we've overcome that to do what we do,” Way said in Life On The Murder Scene. 

When the music stopped and My Chemical Romance broke up, it was bitter-sweet (mostly bitter) (just kidding). In truth, there was a sigh of relief, but also sorrow. Where else was the band going to go? How much further could they take it? What can we expect from the Way brothers and Frank and Ray in terms of new musical projects that weren’t My Chemical Romance? One could argue that there were plenty of other “emo” bands who were doing something similar — writing intimate songs about intimate things. But admittedly, on a grand scale, no other band did it like MCR. They filled arenas and moved over five million albums over the course of their career which spanned a killer twelve years. They were an enormous band playing loud as fuck songs about incredibly personal ideas and they continued, without fail, to include every walk of life on their journey through the ups and the downs. 

My Chemical Romance created a new musical frontier. Unassisted, they formed an entire subculture of teens and young adults — especially women, mentally ill teenagers, and LGBTQ+ people — who could network together and find acceptance and solidarity in their suffering, which continues to be stigmatizing and written off as the usual case of “teen angst.” Your problem? You’re lead to believe that just because a band has a majority female fanbase it’s not considered sincere and heartfelt music. That it is automatically cringe-worthy and unqualified to be critiqued the way good bands should be critiqued: based on the quality of their music, their artistic vision, and their ability to perform in an entertaining manner. My Chemical Romance was superb. Let go of your misogyny. 

And that’s that on that. 

Catherine Dempsey’s gun fires seven different shades of shit. So what’s your favorite color, punk? You can follow her on Instagram and Twitter.

Follow DRM on Facebook, Instagram, and Twitter.

#my chemical romance #my chem #mcr #mcrmy #gerard way #frank iero #mikey way #ray toro #alternative rock #emo #feature #catherine dempsey

[dustedmagazine]

Dust, Volume 6, Number 10

The Slugs 

September seemed to be the month when all the records on endless delay finally got kicked out the door, COVID or no, ready or not here we come. We’re deluged with music, some recorded before the world changed, some clearly cooked up mid-pandemic. There are a lot of covers EPs, lots of solo material, lots of home-made lo-fi, lots of benefit comps, and who are we to complain? Better, instead, to reach for the headphones, load up the hard drive, pile on the LPs and do some listening. Here’s some of the stuff that caught our attention, as usual ranging all over the continuum, from traditional to edgy and experimental, from silly pop punk to enraged death metal to bookish electro-acoustic improvisation. Contributors this time out included Jonathan Shaw, Patrick Masterson, Jennifer Kelly, Bill Meyer, Derek Taylor, Ray Garraty, Tim Clarke and Andrew Forell. Happy fall.

Amputation — Slaughtered in the Arms of God (Nuclear War Now!)

Slaughtered in the Arms of God by Amputation

Given the degree of smugness that accompanies utterances of the phrase “Old School Death Metal,” it’s frequently instructive to listen to some. Right on time, the misanthropic bunch at Nuclear War Now! has delivered some seriously Old School sounds to our digital doorstep. This new compilation LP gathers both of the demos of Norwegian knuckle-draggers Amputation, along with a contemporaneous rehearsal recording. Likely the resulting record will be of principal interest to fans of Immortal, the long-running, on-again-off-again Norwegian black metal band that Amputation would morph into in 1991. The songs collected on Slaughtered in the Arms of God have some additional musicological significance, as they document the sounds of 1989 and 1990, transformational years in Norway’s metal scene. Mayhem and Darkthrone tend to get most of the attention, for reasons both good and bad; and like Darkthrone, Amputation made death metal before transitioning to blacker, more brittle sounds. The music on Slaughtered in the Arms of God is muddy, thudding and thick. Perhaps that’s the result of the primitive recording tech the band used, likely of necessity. But through the murk (and to some degree because of it), you can hear the influence of Stockholm’s fecund death metal scene, especially Dismember’s earliest stuff. Scandinavia’s metal currents run deep and dark. Whether that means that Old School Death Metal is intrinsically a good thing is a different matter.

Jonathan Shaw

 Anz — Loose in Twos (NRG) 12” (Hessle Audio)

Loos In Twos (NRG) by Anz

I love the idea of listening to DJ mixes of original or all-new material; it’s probably why I still value, say, Ricardo Villalobos’ Fabric 36 so much. Manchester’s Anna Marie-Odubote, aka Anz, has been doing just such a thing annually since 2015 and really went wild with spring/summer dubs 2020, which compiled 74 tracks into nearly an hour and a half of new music. That would’ve been more than enough amid all of this (imagine me gesturing around vaguely), but “Loos in Twos (NRG)” on the venerable Hessle Audio imprint is an equally formidable, decidedly tighter release I played a lot at the start of September. Three club-ready tracks here break down acid, jungle and footwork, and while all three are heady breaks, the looped vocals and bongo of “Stepper” make it the one for me. Get those feet moving digitally now so they’re comfortable once the vinyl arrives in early October.

Patrick Masterson

 Ashes and Afterglow — Everybody Wants a Revolution (Postlude Paradox)

Ashes and Afterglow drops pop punk melodies into deep buckets of fuzz, lets them bubble and bob to the surface before shoving them under again. The band is mainly the output of one Luke Daniel, who appears to have been in other band called Sea of Orchids, but neither outfit has left much of an internet trail. And sure, this is the kind of thing that could easily get shuffled under; it breaks no moulds. And yet shuffling “To Take a Look at the World,” has a heart-worn resonance, Daniel’s voice echoing in reverbed hollow-ness against surging tides of guitar noise. “My Yesterday Girl” churns a little harder, with a bright, pop-leaning sort of hopefulness hedged in by seething feedback. It’s not bad, but it never hits a melodic vein the way that similarly inclined artists like Ted Leo or Ovlov or Tony Molina do, and it never pushes the noise over the top, either. Neither pop nor punk but somewhere in middle.

Jennifer Kelly

 Ballister — Znachki Stilyag (Aerophonic)

Znachki Stilyag by Ballister

A cake is still a cake, whether you put chocolate frosting and strawberries or white icing and a fondant roses on top. And while they don’t all taste or look exactly the same, a Ballister album is still a Ballister album, and the first Ballister album in three years does not mess with the recipe. Dave Rempis (alto and tenor saxophones), Fred Lonberg-Holm (cello and electronics), and Paal Nilssen-Love (drums and percussion) still trade in a particularly hard-hitting form of total improvisation. The changes are ones of emphasis — Lonberg-Holm sounds like he’s using a wah-wah pedal and deploys some especially slashing feedback tones, there’s a bit more space in Nilssen-Love’s intricate beat configurations, and Rempis left his baritone sax at home — and of location. Znachki Stilyag was recorded during the fall of 2019 in Moscow, Russia, which may explain why the big horn stayed at home. But the ones you hear still cut and thrust with broadsword force and rapier precision. This is a cake you can trust.

Bill Meyer  

 Vincent Chancey — The Spell: The Vincent Chancey Trio Live, 1987 (No Business) 

Vincent Chancey likely isn’t alone amongst his peers in feeling exasperated by folks singling out his instrument as uncommon or unusual to jazz. It’s a form of damning through faint praise and one that feel

s even more lackadaisical with any time spent with his music. Chancey plays the French horn and he’s plied it in settings as diverse as Sun Ra Arkestra, Lester Bowie’s Brass Fantasy and Charlie Haden’s Liberation Music Orchestra as well as gigs supporting Aretha Franklin and Elvis Costello. It’s unclear whether the trio documented on The Spell was a working concern, but that hardly matters given how well bassist Wilbur Morris and percussionist Warren Smith gel with their convener. Spread across two sides of an LP, the concert recorded at a New York City art gallery covers four pieces, two by Morris bookending one apiece from Smith and the leader that stitch together very much like cohesive suite. An unadvertised surprise comes with Smith’s ample application of marimba alongside a regular drum kit. Recording quality isn’t optimal, but Chancey’s rich, rounded, phrases gain extra gravitas through the sometimes-grainy acoustics. Woefully underrepresented in the driver’s seat discographically, his acumen as both improviser and composer is easily vindicated by this limited edition (300 copies) release.

Derek Taylor 

 Che Chen — Tokyo 17.II.2012 (self-released)

Tokyo 17.II.2012 by Che Chen

Nowadays Che Chen has earned a measure renown as the guitar-playing half of 75 Dollar Bill, and all the praise is earned. But before that, he played a roomful of instruments in the True Primes, Heresy of the Free Spirit and duos with Robbie Lee, Tetuzi Akiyama and Chie Mukai. The through-lines to all these efforts is a willingness not to play things the way their supposed to be played, and a gift for supplying the right resonance in any setting. Since 75 Dollar Bill is a New York-based band made for social occasions, the COVID-19 lay-off has been especially hard — so there’s no better time to see what’s in those hard drives in the closet, right? Chen has released this solo concert from 2012 via Bandcamp. In Tokyo for a brief layover, he played amplified violin at a party held in the basement of someone’s apartment building. The amplified part is important; dips and swells of feedback count as much as in this 25-minute performance as the fiddle’s bright, plucked notes and rough, bowed tones. Chen moves purposefully from one mode to next, taking time along the way to savor the room’s lively acoustics.

Bill Meyer

 Jeff Cosgrove/ John Medeski/ Jeff Lederer — History Gets Ahead of the Story (Grizzley Music)

Odds are that even the estimable William Parker would be surprised by the prospect of a William Parker cover album. But that’s essentially what History Gets Ahead of the Story is as organized and realized by drummer Jeff Cosgrove. That the project is the province of an organ trio only adds to the potential consternation quotient. John Medeski officiates the Hammond B-3 console and saxophonist Jeff Lederer, doubling on flute, completes the combo convened by Cosgrove. The latter’s connections to Parker stem from a trio he was part of with the bassist/composer and pianist Matthew Shipp that disbanded in 2015 after fruitful collaboration. Parker’s personage and music left an indelible mark and the seeds for the present album were sown. Collective creative license doesn’t get in the way of soulful, energizing renderings of such staples as “O’Neal’s Porch,” “Corn Meal Dance” and “Wood Flute Songs,” but troika also cedes time for a triptych of strong originals that align aurally with their dedicatee’s inclusive tone world sensibilities.

Derek Taylor   

 Derelenismo Occulere — Inexorable Revelación (Le Legione Projets)

Inexorable Revelacion (FULL LENGHT 2020) by Derelenismo Occulere

This sounds like a rehearsal gone wrong. In the time of the COVID pandemic, Neo Apolion, a guy responsible for the music in this Ecuadorean duo, recorded a demo and sent it to the band’s vocalist Malduchryst with a message to do with it whatever he wants. Malduchryst took his band partner’s words all too literally. With complete disregard to the music he began vomiting a noisy, messy mass of screams to a microphone (has he never heard of a black metal with no vocals?). If it sounds totally batshit, you can rest assured that it is. This is what makes Inexorable Revelación actually great black metal. When a lot of metal bands these days are just Backstreet Boys with leather jackets on and with guitars, Derelenismo Occulere care about only fury and mayhem. Their Argentinean mix man Ignacio only adds more chaos to the album. The only flaw this tape has is that it is 15 minutes too long.

Ray Garraty  

 Whit Dickey — Morph (ESP-Disk)

Morph by Whit Dickey

Drummer Whit Dickey and pianist Matthew Shipp have been recurrent partners since the early 1990s, when they were both members of the David S. Ware Quartet. It’s fair to say that each man is a known quantity to the other, and that one of the things they know about each other is that they might still be surprised by the other’s playing. Dickey’s retreated from time to time in order to revise his approach, and while Shipp has often threatened to quit recording over the years, he has never stopped working or evolving. This double disc combines one duo CD and another that adds trumpeter Nate Wooley to the pair. Wooley’s done a number of dates with Shipp in recent times, but he and Dickey were musical strangers before they entered Park West Studios in March 2019. Without Wooley, Shipp and Dickey seem very free and trusting of each other, transitioning with dreamlike ease from abstracted gospel to sideways swing to restless co-rumination this the ease. The trio seems more considered. The trumpeter dips quite sparingly into his extended technique bag, favoring instead linear statements that instigate fleet perambulations from the pianist and more supportive, less overtly dialogic contributions from the drummer. Both sessions work, and their differences complement each other quite handily.

Bill Meyer

 Dropdead — S/T (Armageddon)

Dropdead 2020 by Dropdead

Yep, it’s that Dropdead, the Providence-based powerviolence band that hasn’t released a proper LP since 1998 and was on a long hiatus through much of the 21st century. Since 2011, Dropdead has put out a string of splits, with heavyweights like Converge and Brainoil. But a whole record? Maybe the unrelentingly shitty condition of our political and economic conjuncture motivated the four guys in the band (three of whom have been affiliated with Dropdead since 1991) to write the 23 burners, rants and breakdown-heavy hardcore tunes you’ll hear across Dropdead’s 25 minutes. It’s a welcome addition. Bob Otis’s voice doesn’t have the shredding quality of days of yore — but that ends up being useful. You can hear the lyrics, and they’re drenched in venom and righteousness. The rest of the band hasn’t lost a step. Pretty impressive for a bunch of guys with that much grey in their beards. That said, they don’t pull any intergenerational, “we’re-older-and-wiser” moves. This is still music that wants to collapse boundaries, between stage and mosh pit, between races and genders, between species, even. Not so much class positions: “Warfare State,” “United States of Corruption,” “Will You Fight?” Late capitalism’s depredations still bear the principal brunt of the band’s anger. Things have gotten worse, and Dropdead respond in kind. They may be a lot older, but they’re even more pissed off.

Jonathan Shaw

 Fake Laugh — Waltz (State 51 Conspiracy)

Earlier this year, Kamran Khan released his second Fake Laugh album, the charming, playful Dining Alone, which made its way into Dusted’s mid-year round-up of favorites released in the first half of 2020. Khan’s third album, Waltz, is a very different beast, featuring just piano, vocals and the odd keyboard texture, casting his songwriting in sharp relief. Undoubtedly created in this stripped-down way out of lockdown necessity, it’s hard to listen to these wistful, melancholic songs without imagining where Khan’s knack for colorful arrangements might take them, given the chance. (As a tease, closing song “Amhurst” offers up a shimmering electronic melody and some sighing synth chords.) There’s no doubting Khan’s way with a tune, and his naked vocal, though occasionally showing strain, suits the mood. It’s understated and undeniably lovely, yet Waltz feels like a minor release for this talented artist.

Tim Clarke

 David Grubbs / Taku Unami — Comet Meta (Blue Chopsticks)

Comet Meta by David Grubbs & Taku Unami

In the 23 years since Gastr Del Sol fell apart, David Grubbs has done many things that don’t sound much like his old band with Jim O’Rourke. And Taku Unami has worked in such varied settings and ways that the most persistent quality of his engagement with sound is its ability to induce question marks and ellipses in any train of thought intending to decode it. So, it’s both remarkable and delightful that this record, the duo’s second collaboration, sounds rather like parts of Gastr Del Sol’s Upgrade & Afterlife. The foundation rests upon the way two guys who can and do play intricate guitar duets make subtle use of other elements — creeping acoustic piano, humming synthesizer, urban field recordings — to make music that thickens atmosphere and accumulates mystery with such subtlety that you don’t notice it until you’re in it.

Bill Meyer  

 Guided by Voices — Mirrored Aztec (Guided by Voices Inc.)

I know, I know, it’s another Guided by Voices record, the fifth since 2019, but hear me out. Pollard is still tapped into the fuzzy, rackety, melodic sap of the rock and roll universe, and he has only to knock his hammer a few times against the gnarled tree of life to extract more of what sustains us. Shorter version: he can do this all day, every day, without any noticeable let-up in quality. So, let us celebrate another batch of Who-like power chords, of rumbling drums and monumental bass thuds, of melodies that curve out delicately like spring’s first vines, then thicken into thundering climaxes and triumphant refrains. Let us give thanks again for inscrutable lyrics that drift off into poetry then pull back in the most ordinary artifacts of the spoken word. “I Think I Had It. I Think I Have It,” crows Pollard in a voice that has been blasted by time but come out more or less intact, and yes, Bob, you still do.

Jennifer Kelly

  Edu Haubensak & Tomas Korber — Works for Guitar & Percussion (Ezz-thetics)

The celebrated Wandelweiser aesthetic serves as a loose overarching impetus for the four interpretations of compositions by Edu Haubensak and Tomas Korber that comprise Works for Guitar & Percussion. Classical guitarist Christian Buck and improvising percussionist Christian Wolfarth ply their instruments through pairing and isolation. Essayist Andy Hamilton describes context by delineating a distinction between music (based in the language of tones) and soundart (which is non-tonal) and placing the duo’s interpretations in the opaque border between these realms. Repetition and timbral disparity frame Haubensak’s “On” while Korber’s “Aufhebung” applies scrutiny to microtonal diversity and temporal impermanence. Wolfarth fields Korber’s “Weniger Weiss” from behind snare drum, trading recurring stick rolls with varying segments of silence that compel ears accustomed to Western musical structures to consciously fill in the blanks. Haubensak’s solo “Refugium” finds Buck bending two closely tuned strings in an extrapolation of an Arabic maqam that feels tenuously connected to the form, at best.

Derek Taylor 

 Inseclude — Inseclude (Inseclude)

Brad MacAllister of CTRL and Blue Images and Benjamin Londa of Exit have been working in the darkwave and chillwave scenes for several years and their first album as Inseclude is a long distance collaboration that mines the darker side of 1980s alternative and electronic rock. From Pennsylvania, MacAllister sent musical ideas to Londa in Texas who added guitars, lyrics and vocals to produce a set of songs that are well made and enjoyable if largely unmemorable. There are a number of contemporary bands doing similar things — Hamilton’s Capitol and Manchester’s Ist spring immediately to mind — taking the Cure, New Order, Sisters of Mercy template and why not? Unfortunately, the passage of time and the law of diminishing returns have led to overfamiliarity with this style of music that makes for easy and perhaps unfair comparisons. When they stretch themselves, Inseclude’s songs do hit. “Sondera” and “Failing To The Pulse” carry some real menace with the juxtaposition of wide-angle synths and paranoid vocals but elsewhere the pair seem held back by a restraint and lack of bottom end that diminish the impact of some pretty decent songs.

Andrew Forell

 Kvalia — Scholastic Dreams Of Forceful Machines (Old Boring Russia)

Схоластические Грёзы Силовых Машин by Квалиа

Krasnoyarsk sits on the banks of the Yenisei river in southern Siberia and is known both for the natural beauty of its surrounding landscape and for its primacy as an aluminum producer. Local musicians Aleksander Maznichenko and Aleksey Danilenko reflect the latter on their new five track EP Scholastic Dreams Of Forceful Machines, an icy, metallic collection of post-industrial clang pitched somewhere between Einstürzende Neubauten and early Clock DVA. Their machines are forceful but cranky, rusted, near obsolete. Maznichenko keeps the thrum of turbines is steady but the drum machines lurch and thump, the keyboards whine and scream, the Russian vocals protest their obstreperous charges. Danilenko’s bass is post-punk elastic skipping amongst the raining sparks hinting at a will to dance with his mutant riffs. They sound like they mean it and the result is a terrific EP full of fire, fumes, steam and sweat.

Andrew Forell  

 Mezzanine Swimmers — Kneelin’ on a Knife (Already Dead)

Kneelin' on a Knife by Mezzanine Swimmers

These songs circle around noise-crusted, repetitive beats, the drumming stiff and mechanical, the riffs chopped to short bursts, the vocals woozy and distended. “Sexy Apology” reiterates a three-note keyboard lick ad infinitum, as main Swimmer Mike Smith drawls the title phrase, similarly on repeat. Yet within this unchanging structure, chaos erupts in detuned keyboards, miasmic feedback and corrosive noise. It’s hard to say whether these songs are too tightly organized or too loose, a bit of both really, and yet, get past the headachy thud and there’s an unhinged psychotropic transport. No one ever said that kneeling on knives would be comfortable.

Jennifer Kelly

 Mosca — The Optics (Rent)

Mosca · The Optics [RENT001]

Part of the initial wave of neon-infused dubstep hedonism surrounding the Night Slugs camp at the turn of the last decade, Mosca’s Tom Reid has since survived on the strength of a regular slot behind the decks at NTS and sparingly deployed releases on such renowned labels as Numbers, Rinse, Hypercolour and Livity Sound. “The Optics” debuts his new Rent imprint, conceived as a way to get out music that doesn’t fit in elsewhere. (Originally, this was to be an a-side for a coming AD93 release, but as he says, “There's only so long you can keep a track with a baby crying in it back from the masses.”) Supposedly inspired by the Under the Skin beach scene, the five-minute track immediately throws you off with a dub-heavy shuffle and metallic, alien sounds that zoom around the mix. The main thrust of the melody arrives around a minute in, and gradually the sounds close in on you. There’s bells, birds, a baby crying and then, just when you’re feeling completely stressed out, it all falls away; a driving jungle rhythm carries you the rest of the way. Deeply satisfying dance from a head who hasn’t lost his way.

Patrick Masterson  

 Prana Crafter/ragenap — No Ear to Hear (Centripetal Force Studio/Cardinal Fuzz)

No Ear to Hear by Prana Crafter / ragenap

When Robert Hunter, the poet who wrote lyrics for the Grateful Dead’s “Dark Star,” “Ripple,” “Truckin’,” “Terrapin Station” and many other songs, died in late 2019, long form psych musicians Prana Crafter (William Sol) and ragenap (Joel Berk) mourned separately but simultaneously. The night he died, both took solace in improvised music, which didn’t so much evoke or represent Hunter, but captured some of their feelings about his work and their loss. When they talked, soon after, they found that both had made lengthy open-ended meditations on the same person. Those two extended pieces make up No Ear to Hear. Prana Crafter’s entry, “Beggar’s Tomb,” is weighted and slow moving, building gradually from simmering drones into towering edifices of feedback and dissonance. Although performed largely on guitar, the sound is filtered through gleaming effects and layers into astral strangeness, a mystic’s trip through mental interiors. ragenap’s “Nightfall” also takes shape slowly out of looming sustained notes and black velvet quiet and sounds that scratch and vibrate at the edges. A solitary acoustic guitar takes up space at the forefront finally, carving a hesitant melody across the hum. The tune turns fuller and more agitated as it progresses, adding layers of feedback and distortion. Neither of these pieces sounds much like the Grateful Dead, and of course, neither has any sort of lyrics. I doubt that anyone, hearing this album for the first time would say, “Oh yeah, Robert Hunter.” And yet inspiration works in strange and, in this case, fruitful ways. You can enjoy this even if you don’t like the Dead.

Jennifer Kelly

 Raven Throne — Viartannie (Chroniki Źmiainaj Ciemry) (self-released)

Viartannie (Chroniki Źmiainaj Ciemry) /The Return (The Chronicles of the Serpent Darkness) by RAVEN THRONE

These Belorussian black metal veterans are true materialists. On their seventh album, they show that nature is a social construct, not something given. And boy, their nature is not a loving mother. Unlike many metal bands convey nature via field recordings, Raven Throne craft their ferocious sounds with guitars and drums. Aren’t these as natural instruments as stone and wooden sticks? The atmospheric black metal subgenre has been contaminated by pop and folksy metal so that it’s hard to maintain a truly evil sound, while still bringing the atmospheric elements into it. Raven Throne pull it off. This is how darkness should sound.

Ray Garraty  

 The Slugs — Don’t Touch Me I’m Too Slimy (2214099 Records DK)

Don't Touch Me, I'm Too Slimy by The Slugs

The Slugs are an exuberantly lo-fi punk pop duo out of London who bash and thump and shout short, acidic ditties about being female, in a band, under assault and under the weather. Liberty Hodes, who is also one half of the comedy duo A Comedy Night that Passes the Bechdel Test, plays a jangling, forceful electric guitar, while her Phoebe Dighton-Brown bangs away in brutal simplicity on the drums. Both sing, sometimes in unison, sometimes in rough harmonies, occasionally in slashing counterparts. (One chants “Feel sick/can’t be sick” while the other rolls out mellifluous “ah-ah-ah-ahs” in “Feel Sick.”) There is a charming, unstudied quality to their music, which is a bit too smart and biting to be primitive, but nonetheless eschews frills. It’s hard to pick favorites—the whole EP is over in five tracks and 11 minutes—but “Pest” is giddy fun, with its slouching, battering guitar-drum motif and slacker choruses. The shout along chorus of “Don’t touch me! I’m too slimy!” is the best thing on the record, hitting a rebellious, unwashed spot of resonance in the work-from-home era. Second best, the gleeful tirade about sleazy male promoters in “Girly Gang” (“Give you all the gigs if you touch my wang”), which builds in round-singing euphorias until it ends suddenly and a la Jane Austen in matrimony (“Married in a dress by Vera Wang”). People are comparing the Slugs to the Shaggs, but that’s just short-hand for banging away anyway without all the training. The Slugs are smarter, slyer and more autonomous, and if they sound a little rough, that’s exactly how they meant to sound.

Jennifer Kelly

Tobin Sprout — Empty Horses (Fire)

Empty Horses by Tobin Sprout

Blessed with one of the finest names in music (alongside dEUS’s Klaas Janzoons), Tobin Sprout is best known for being part of the Guided by Voices line-up that created classic albums such as Bee Thousand and Alien Lanes in the 1990s. Though Sprout’s subsequent solo output has been a steady stream compared to Robert Pollard’s deluge, Empty Horses is his eighth solo album. In it, the now-65-year-old ruminates faith, mortality and American history atop a spare, country-tinged backing. There’s a deep ache to many of these songs, the kind of emotional weight that manifests in pointedly low tempos, sparse drum parts that hang behind the beat and vocal performances that are almost uncomfortably intimate. Running to a succinct half-hour, with many of the songs clocking in at just a couple of minutes each, Empty Horses confronts demons seemingly too pernicious to overcome. Yet, when the music becomes more expansive — such as the graceful pedal steel of “Breaking Down,” the woozy modulation of “Antietam,” or the biting fuzztone of “All In My Sleep” — Sprout sounds like he may be on the verge of making a much-needed breakthrough.

Tim Clarke  

 Son Lux — Tomorrows I (City Slang)

Tomorrows I by Son Lux

Son Lux’s songs embed unsettling sounds in deep wells of silence, finding disturbing textures in string sounds, electronics, percussion and the fluttering soul falsetto of founder Ryan Lott. Tomorrows I, reportedly the first of three related albums, has a quietly dystopian vibe and a moist, echoing unease that might remind of you Burial’s classic Untrue. A brief, looped, keening violin motif punctures the opening cut, “Plans We Made” with all the threat of Bernhard Hermann’s shower music for the film Psycho, while Lott trills haunted phrases about being afraid to let go. “Undertow,” near the end, brings in a whole string quartet to swoon dissonantly, as a knocking beat (drummer Ian Chang) sounds like a body being dragged across the floor. “Just waiting for the undertow,” sings Lott in the dread empty spaces between, in arias of muted desolation. Minimalist and menacing and mesmerizing.

Jennifer Kelly

 Ulaan Janthina — Ulaan Janthina (Part 1) (Worstward)

Ulaan Janthina (Part I) by Ulaan Janthina

Steven R. Smith contains multitudes, and Ulaan Janthina is the latest manifestation of his mutating musical self. This release exemplifies three aspects of Smith’s practice. First, he likes to make beautiful things. Hard copies of this tape come in a custom-oriented box that contains tinted photos, shells and printed communications as well as the cassette. And he’s project-oriented. While other iterations have been devoted to an Eastern European vibe, or guitar noise or a virtual ensemble sound, Ulaan Janthina results from a decision to work primarily with the keyboards in his house. It’s a winning strategy, since his synthesizers, organ and harmonium all benefit from the grittiness of Smith’s recording methodology, and his spare playing style makes his melodies stand out quite starkly from the background atmosphere. Like the name says, this is part one of the Janthina (named for a genus of sea snail that makes its own floating platform — not a bad metaphor for the survival-oriented independent musician) venture; a second, similarly packaged cassette is pending from Smith’s Worstward imprint soon, and a future release is already planned by Soft Abuse records.

Bill Meyer

 Various Artists — Spr Blk: Liberation Jazz and Soul From the '70s and Beyond (Paxico)

Liberation Jazz and Soul by Marcus J. Moore

Author Marcus J. Moore (late of The Nation but also found everywhere from Pitchfork to WaPo) has a book on the way in October, The Butterfly Effect: How Kendrick Lamar Ignited the Soul of Black America. In advance of its release via cassette devotees Paxico, Moore cobbled together “rare and somewhat familiar” Black music from his own crates. “These are the kinds of songs I play when walking through New York City or driving through Maryland,” he says in the release. What that means for you is a two-sided mix that burns slower on the A and gets more percussion-heavy on the B. Leading off with Doug Carn’s fittingly titled “Swell Like a Ghost” and featuring jams from Willie Dale, Milton Wright, Ronald Snijders and other lesser jazz, soul and funk lights, it’s a revealing mix that will no doubt pair well with that fall reading you’re about to get going on.

Patrick Masterson 

 Vatican Shadow — Persian Pillars of the Gasoline Era (20 Buck Spin)

Persian Pillars Of The Gasoline Era by Vatican Shadow

Dominick Fernow is hugely prolific, and most folks with ears tuned to the densely churning worlds of noise and industrial music will be familiar with his abrasive, unsettling output under the Prurient moniker. Fernow’s releases as Vatican Shadow are fewer in number, and more attuned to ambient, even melodic movements and textures. That’s sort of odd, given that the Vatican Shadow records thematize and explore Fernow’s obsession with the history of the Middle East, especially post-9/11 collisions of Western military force, Islamic traditions of resistance and the tactics of terror used by both sides. Relaxing stuff, that ain’t. Consistent with the larger project’s tendencies, Persian Pillars of the Gasoline Era claims an interest in the CIA-coordinated Iranian coup (MI6 helped out, too, those imperial scamps) that deposed Mohammed Mossadeq, installed the Shah Reza Pahlavi and inaugurated some of the principal tensions that have shaped the last half-century of world history. It’s unclear how Fernow’s pulsing, shimmering, sometimes juddering synth sounds are meant to represent or otherwise engage that history. For sure, record art and song titles summon all the right semiotics, sometimes with an interesting edge. But “Taxi Journey through the Teeming Slums of Tehran” sounds more like a malfunctioning MP3 player than a taxi or a “teeming slum” (can we all be done with that phrase now?), and “Moving Secret Money” is pleasantly trance-inducing, rather than insidiously evil. Musically, it’s quite good. The packaging seems to want strike other notes. Maybe that’s the point — too many folks are too busy consuming quietist pop to bother with the grind of the political. But is this the intervention we need?  

Jonathan Shaw

#dusted magazine #dust #amputation #jonathan shaw #anz #patrick masterson #ashes and afterglow #jennifer kelly #ballister #bill meyer #vincent chancey #derek taylor #chen chen #jeff cosgrove #john medeski #jeff lederer #Derelenismo Occulere #ray garraty #whit dickey #dropdead #fake laugh #tim clarke #david grubbs #taku unami #guided by voices #inseclude #andrew forell #kvalia #mezzanine swimmers #mosca

[benzbantz]

Best 100 Songs of the decade!

As a new decade will be upon us shortly (the 20’s) I wanted to share some of my favourite tracks from the last 10 years. I’m a pop and rap guy mostly so that’s what you can mostly expect but hopefully a few surprises along the way. I’ll post 100 songs I really loved (in no particular order) then my top 25 absolute favourites at the end. Ok here we go

~Bad Romance - Lady Gaga

To limit myself to just one GaGa track is cruel and not easy, Edge of Glory and Born this Way are both anthems and technically this came out last moment 2009 ..but didn’t pop until 2010. A classic that makes it to most my playlists.

~Airplanes- B.O.B ft Hayley Williams (A classic no need to say more.)

~Love the Way you Lie - Eminem ft Rihanna

A absolutely brutal tune about a toxic relationship full of of lies and abuse, the powerful video really sells the tone of the song.

~Rescue Me - Skepta

Used to love Grime but gone off it for a while now. I wouldn’t call this an outright grime track but Skepta def brings the gritty uk rap scene on this one.

~Forget you ~ Ceeloo Green

Thou I prefer the Gnarls Barkley music style, this is still a awesome tune. Always fun to tell someone to do one in a sing song melody.

~Written in the Stars- Tinie Tempah ft Eric Turner

Used to love me some TT, this was a real catchy banger with great chorus by Eric Turner.

~Raise your glass - Pink (Not much to say, a pop classic)

~I need a Dr - Eminem, ft Dr Dre and Skylar Grey

This is such a underrated song. You have to really know your Dre and Em history to catch everything being said (which I won’t go into here) Brilliant tune and my fave they both worked on together that decade.

~Animal- Neon Trees

Really catchy little number that I enjoyed from first hearing.

~Look at me now - Chris Brown ft Lil Wayne and Busta Rhymes

Busta Rhymes rap, that is all!

~Moves like Jagger - Maroon 5, Christina Aguilera

A great sing a long featuring two artists I’m not mad about really so a surprise like from me.

~ In the heat of the moment - Noah Gallagher’s High Flying Birds

What a tune, completely missed this first time around heard on a tv show recently checked it was this decade and then added it right on the list. Banger.

~Summertime Sadness AND ~Love - Lana Del Ray

2 for 1. When Summertime Sadness came out I was mesmerised by Lana’s voice had never heard anything like it before. Safe to say she is my artist of the decade but haven’t raided this count down with all her music. A couple here and a couple of my absolute faves in my ultimate top 25. Love was very heard to keep out of my top 25.

~Stronger (What doesn’t kill you) - Kelly Clarkson

Come on now, if you haven’t belted this one out the top of your lungs at least once I don’t know what you’ve been doing the last ten years.

~Somebody that I used to know - Goyte ft Kimbra

Went thru moments of really liking this song then it really irritating me (played on radio A LOT), thankfully years later the hype has died so I can appreciate it once more.

Midnight City- M83

This is not really my sort of music at all ,so much so I’m not even sure how to describe it. Has a 80’s feel which I love. Just love the infusion of synths and instrumental. Plus the singer has a very calm melodic voice. Great track.

~T.H.E - Will.I.Am ft Mick Jagger and Jennifer Lopez

Absolutely love this song so catchy very Fergie era BEP sounding, with a great guest solo from Mick Jagger.

~212 - Azealia Banks (not much to add on this, banger!)

~Too Close - Alex Close

If you don’t recognise this song from title you will once you hear it, such a forgotten gem.

~Picking up the Pieces - Paloma Faith

Another unique voice that def makes my top ten newly discovered artists this decade is Paloma Faith, her cover of Mama Cass’s Make your own kind of music also deserves a strong mention. Also not related to the music but Paloma is mad as a box of frogs in real life which I love.

~Bangarang- Skrillex

Yeah you’re not leaving alive from this post without a Skrillex nod I’m afraid, not a big dubstep fan but jumped aboard the band wagon when it was big for five minutes, this songs only thing that made it back with me thou.

~Hall of Fame - The Script ft Will.I.Am

First let’s clear this up I’m not a massive Will.I.Am fan or anything, he was just in EVERYTHING for the first few years of the 10’s. It’s a great song regardless.

~Harder then You think - Public Enemy (What a track, can’t say much more, banger.)

~Locked out of Heaven- Bruno Mars

Bruno Mars had some amazing tracks his debut album Doo Wops and Hooligans featured some brilliant tunes which sadly I just didn’t have space for in this countdown, Grenade, lazy song , Just the way you are, but I’m showing some love to Unorthodox Jukebox here and it’s best track giving Bruno Mars a edgier new vibe.

~Chocolate- 1975

Not my sort of music usually but really enjoyed this laid back rock number,

~Get Lucky - Daft Punk ft Pharrell Williams

Disco is back! Or is was in 2013 when this tune came out, one of the biggest selling singles worldwide in the 2010’s so not much more detail needed on its inclusion.

~Let her Go- Passenger

Nice little number, always liked this one, never really got into there other stuff but had to give this a shout out.

~Can’t hold us - Macklemore ft Ryan Lewis

The Heist is one of my fave albums from the last decade features some great tracks, same love and Thrift Shop get a shout out but this track was my fave, uplifting and full of energy.

~La La La - Naughty Boy feat Sam Smith

This was Sam Smith’s big feature hit before they became the successful solo artist they are now. Great track very different to the music Sam does now.

~Work Bitch - Britney Spears

Don’t roll your eyes! This is a banger, now get to work bitch!

~Rap God - Eminem

For Eminem’s big solo feature on this countdown it was between this, The Ringer or Not afraid. You may of guessed I’m a Eminem fan and have tried to keep his entries down but one does not simply do a music countdown and not include Rap God.

~Of the Night - Bastille

Really like this band they have some great hits, Pompeii is another great song of theirs that I didn’t have space to include. I went for this eerie cover version of the Corona 90’s dance classic as my pick.

~Wrecking Ball - Miley Cyrus (Leave me alone it’s a good song ok 😂)

~Riptide- Vance Joy

A little hidden gem I’d forgotten about until I put this list together.

~Who did that to you? - John Legend

Was going to obviously include All of me in this spot but then I remembered this absolute hit from Django unchained which sneaks in and takes the spot. Both great songs thou.

~Nobody to Love - Sigma (Great little dance track not much to add)

~ When the Party’s Over - Billy Eilish

Yes I’m a 35 year old Billy Eilish fan ok leave me alone lol. Seriously thou this girl is super talented and she’s up there in my fave artists of the decade. There will be more of her in my top 25 but this haunting track deserves a mention.

~Turn down for What - DJ Snake ft Lil Jon

It’s Lil Jon yelling really load of course it’s a banger. Also worth mentioning Ice T did a awesome Rap rock version of this song and it’s amazing!

~Problem- Ariana Grane ft Iggy Azalea

Those saxophone’s thou! Groovy little number no explanation needed.

~Chandelier- Sia

Such a power anthem, I came out as trans in 2014 so this song holds a lot of personal meaning with me but regardless is a great song anyway.

~Thinking Out Load - Ed Sheeran

I’m not the biggest Ed Sheeran fan ,take him or most often leave him ,but did like this sweet ballad. Nothing against his voice it’s his songs that don’t often do it for me but this was great.

~Good Kisser- Usher

Never been huge Usher fan ,liked his earlier stuff, confessions and all that. This was a surprise jazzy bluesy type number thou that I really enjoyed.

~Rude- Magic (A catchy sing along tune)

~Zombie - Jamie T

This guy was one of my fave artists of the 00’s, and thou his newest stuff imo doesn’t compare to his older this was still a tune.

~I - Kendrick Lemar

This is actually best when played after the song ‘U’ , the latter being a self hating song ‘loving you Is complicated’ vs I’s ‘I love myself’ different ends of the spectrum I just included ‘I’as you can enjoy that one on its own but to get the best out of that track I highly recommend listening to U first.

~See you again- Wiz Khalifa ft Charlie Puth

A sad song given it’s a tribute to Paul Walker who died in a car accident. Was overplayed a lot at the time but stands strong several years later.

~Dark Times - The Weeked an Ed Sheeran

What a track, their voices mesh perfectly together in this somber number.

~ Trouble - Iggy Azalea ft Jennifer Hudson (Banger)

~Hotline Bling - Drake

So many Drake songs I could of included, (he will appear again in the top 25) gods plan, headlines, in my feelings, nice for what, all absolutely great tracks but I had to go for my personal fave out of the bunch.

~You don’t own me - Grace ft G-Easy

This may be an odd one to some but I’ve always loved the original by Lesley Gore and this is a amazing cover. Grace has a lovely voice (and there is a non rap version if you’re so inclined) Love a good cover version and this is a awesome cover version.

~Side to Side - Ariana Grande ft Nicki Minaj

Hmm guess I’m a Ariana Grande fan, who knew. A cheeky little number and the first appearance in this countdown of a certain fave rapper of mine.

~Panda - Desiigner (another one where there’s not much I need to add, great tune)

~Dancing on my own - Robyn OR Callum Scott

Take your pick the Robyn original or the Callum Scott cover version, both stand alone great tracks, the original more a melancholy dance track the cover a somber ballad. Both brilliant.

~Alarm - Anne-Marie

A nice little pop tune, really like her voice

~Rockabye- Clean Bandit ft Anne-Marie and Sean Paul

Speaking of Anne-Marie, another great pop track. Super catchy sing along. Sean Paul can be hit or miss for me but works well with this track.

~Human - Rag N Bone Man

This is another one there’s not much I can add this guy’s voice is amazing. Brilliant song particularly love the chains you can hear rattling throughout (reminds me of Johnny Cash’s ‘Ain’t no grave’)

~Black Beatles - Rae Stremmurd ft Gucci Mane

Yep that’s some mumble rap to add to the list (told you my music taste was varied) As a whole I don’t love mumble rap but there’s some stand out tracks including this one.

~Thunder- Imagine Dragons

One of my favourite bands from the last decade, like most there stuff. This song has a great song along chorus. Really catchy track.

~New Rules And IDGAF - Dua Lipa

Honestly couldn’t pick from the two really like them both equally. So you get a double. Catchy pop tracks.

~Sorry not Sorry - Demi Lovato

It was between this or Sober (another great Demi track) but ultimately went with the more upbeat pop number.

~Havana - Camila Cabelllo ft Young Thug (A nice chilled Latino style track.)

~Perfect - Ed Sheeran

A beautiful song by Ed Sheeran,other then ‘sing’ and the previous mentions I’m not really into his stuff but this is lovely track.

~Feel it Still - Portugal the Man

Really catchy song can’t help but tap your toes along to it.

~False Alarm- The Weekend

This was something different from the Weekend, really enjoy this song, Weekend is one of my other fave artists to come out the 2010’s.

~Sanctify — Years and years

Wasn’t keen on there earlier dance stuff but when they found there sound I really enjoyed them.

~This is America- Childish Gambino

Great as this song is you really need to watch the music video as well for the song to have its full impact. Love Childish Gambino could of put several of his songs in this list, excited for future music from this guy.

~Solo - Clean Bandit ft Demi Lovato

A cheeky little pop number you can’t help but sing along to.

~Shotgun - George Ezra

One of those artists I can’t decide if I’m into or not, like one song then not keen on the next, it’s strange, but no denying this is a great song.

~Lucid Dreams - Juice WRLD (RIP)

First off Rest in peace Juice, recently died at 21, very sad. The guy was super talented and was looking forward to his future stuff. Could of picked a few tracks but this was the first song I heard of his so that’s got to be my shout out.

~Only You - Cheat Codes ft Little Mix

Although I don’t mind Little Mix this is there only entry on my list. A nice catchy sing along with a dance beat.

~Lost Without You - Freya Ridings

This almost made it into my top 25, just couldn’t find a space for it. Haunting, melodic song with Freya’s stunning vocals. Don’t play this one after a break up or a death.

~Nothing Breaks like a heart- Mark Ronson ft Miley Cyrus

~Someone you loved - Lewis Capaldi

Think this guys going to be another Ed Sheeran for me, meh most the time with the occasional great song. This one no exception.

~Shut Down - Skepta

With lyrics like ‘Ring ring pussy, it’s shut down’ how can it not be a banger 😂 Not the best song in the world I admit but good fun.

~As we enter- Nas and Damian Marley

Words can’t express how much Iove this track, such a hidden gem. A reggae- rap blend of uplifting brilliance. Great gym playlist track.

~Better Now - Post Malone

Another artist I enjoy on occasion. This is my favourite of Malone’s songs so far.

~Bad at Love - Halsey (another great pop track)

~Bitch Don’t kill my vibe- Kendrick Lamar

Could of picked a number of Kendrick tracks King Kunta, DNA, M.a.a.a.d City, If these walls could talk, just to name a few but I’ll go with the first Kendrick track I heard and loved.

~Heartbeat - Childish Gambino

So gutted I couldn’t find a spot for this banger in my 25 but I had to include it on its own. Unless you’re a CG fan it’s unlikely you’ve heard it. Highly recommended a listen. I can’t even really describe it.

~No role Models- J. Cole

A anthem with a similar feel to Keep your head up by 2pac, a sad song somewhat but with a more upbeat tempo. My personal fave J. Cole song.

~Power - Kanye West

Wow our first Kanye track. I like Kanye ,prefer his older stuff. My dark twisted fantasy was the last album of his I really liked. This was a absolute monster of a tune. Also really liked the song Runaway from the same album. Both have great intros.

~Antidote- Travis Scott

~ No Sleep- Wiz Khalifa

Super catchy song, very anthem sounding.

~Young, Wild and Free - Snoop Dogg, Wiz Khalifa and Bruno Mars

Another catchy tune, powerhouse of a team up.

~Rack City - Tyga

~ Romans Revenge- Nicki Minaj ft Eminem

Absolute banger double up from the king and queen of rap. Also a version she did with Lil Wayne which was very good but the Eminem version wins for me. Also will take the opportunity to give the Lil Wayne and Nicki song ‘knockout’ a shoutout.

~Blazin’- Nicki Minaj ft Kanye west

Another great Nicki Minaj track of the brilliant Pink Friday album. I know some of her more recent stuff hasn’t been great but she came out the gates strong in 2010.

~Pound The Alarm - Nicki Minaj

Last Nicki Minaj track I promise, could of picked this or starships as love them both equally.

~Trap Queen- Fetty Wap

Can’t lie this is something I never thought I’d like but the more I heard it the more I liked it.

~Ultimate- Denzel Curry

Yes the Vine meme song. Banger.

~Bad and Boujee - Migos

Yes more mumble rap, I’m not even sorry

~I’m not racist - Joyner Lucas

Wow maybe the most powerful song on this whole list. Nothing I explain can do it justice you have to give it a listen yourself (with the video)

~Cry Little Sister - Marilyn Manson

Boom, rap to rock just like that. I love Marilyn Manson covers, in the 00’s it was Tainted Love but this time around its this classic from The Lost Boys soundtrack. Creepy song but kinda perfect for Manson.

~Faster- Within Temptation

~End of Time - Beyoncé

Have to include some Beyoncé before this ends it’s the law. This was my favourite of hers.

~ Rumour has it - Adele

Not the biggest Adele fan but she has a few songs I enjoy, set fire to the rain and someone like you also good songs.

~Ugly Boy - Die Anwoord

Yep he’s a Die Antwoord fan 😆 I have no excuses, DA are one of my fave bands. Zef to death.

- Surf - Tommy Cash

Absolutely stupid lyrics but hilarious (need to watch the video also) it’s actually a good song with a awesome beat.

~Bang Bang Bang - Big Bang

To close the top 100 greatest songs of the decade out , some J-pop, I’m not a expert on Jpop I like a couple of artists and a few songs but had to close out with this... bang bang banger!

So here we go top 25 of my absolute faves from the 2010’s. (in no particular order)

~Radioactive- Image Dragons

This song featured in a Assassins creed game trailer (I forget which game) and I searched for it straight away, found it, fell in love, the rest is history. Great beat and vocals.

~Game Over - Tinchy Stryder, Tinie Tempah, Professor Green, Giggs, Devlin, Example, Chip

Wow with that line up it was always going to be a banger. This might be my fave beat ever! Such a tune featuring Rap and grime mvp’s from the UK.

~Gods and Monsters- Lana Del Ray

I know I said in no order but this might be my very favourite song from the last ten years. It’s not even regarded as Lana’s best but I just love everything about it, lyrics, melody and vocals. Perfect song.

~Born to Die - Lana Del Ray

Another melodic masterpiece from Lana Del Ray.

~Bad Girls - M.I.A

Yeah I’m a dude it’s weird this song gets me pumped seriously thou such a catchy song.

~In Paris - Kanye West and Jay -Z

Not much needs to be said, absolute classic.

~Over - Drake

Drake at his best imo, great beat, delivery and lyrics. My fave Drake song.

~Black Skin Head - Kanye West

Powerful song with a amazing beat, powerful lyrics, great gym song to get you pumped.

~Sail - AWOL Nation

You might have guessed by now I like a catchy sing along song with a pumping beat and somber tone. Check.

~Only love can hurt like this - Paloma Faith

Her voice in this is something else. I said it before Paloma Faith is so underrated.

~Bang Bang - Jessie J, Ariana Grande, Nicki Minaj

Not to be mistaken for Bang bang bang by big bang featured earlier. Great pop hit.

~Take me to church- Hozier

Powerful song and video.

~Humble- Kendrick Lemar

Banger, not much else I can say.

~Uptown Funk — Bruno Mars

Can’t go wrong with this one, great hit.

~Can’t feel my face- The Weekend

Like most of the stuff this guy brings out, this awesome hit just tops that list.

~Redbone- Childish Gambino

Ok sorry Lana Del Ray but I retract your number one spot for this one. Thought it was Macy Grey or the Delfonics singing when I first heard it then discovered who it was. This has a 70’s soul feel. It’s hard to explain ,if you’ve never heard it give it a listen I’m sure you’ll love it.

~Bad Guy - Billy Eilish

Such a catchy tune, the song that introduced me to her music. Great little dance/pop hit. Fun and a bit freaky. Duh!

~Bury a Friend- Billy Eilish

The way Billy Eilish’s mind works amazes me, how she sees the lyrics, the music and video all as one package. She’s extremely talented and look forward to her taking up most the spots on my 2020’s best of list.

~I miss the misery- Halestorm

Great rock hit, has a very 80’s feel. Lead singer has a amazing voice.

~Sweet but Psycho - Ava Max

Maybe my favourite pure manufactured pop hit of the decade, any female pop star could churn this out and it would do well. Hate to love it.

~Homicide - Logic feat Eminem

If you don’t like rap you won’t get it, if you do, you know where I’m at.

~Stronger then Ever - Raleigh Ritchie

Otherwise known as Grey Worm in Game of Thrones, this guy can hold a tune. Great uplifting track.

~Speedom- Tech N9nne, Eminem

Another great Eminem feature hit. Absolute masterpiece of a record.

~I need - Maverick Sabre

Nice somber melodic song, this guys super talented.

~Cookie Thumper - Die Antwoord

The South African rap rave group strikes again, this one is pretty much a Yolande solo, the beat is insane and thou half of it is in said/sung in Africans it’s still my fave DA song.

~Monster- Kanye West, Jay Z, Nicki Minaj, Rick Ross, Bon Ivor

The title of this track doesn’t lie, beast of a track, arguably Nicki Minaj’s best guest verse ever (‘Where them girls at’ deserves a mention for sure) It’s in all my rap playlists, amazing song.

If you took the time to have a gander at my random countdown then I thank you, I fully expect you not to agree with everything, hopefully something you enjoy musically was mentioned I did my best to spread the genres as much as I enjoyed them. More music and other countdowns to come.

#music #billy eilish #lana del rey #the weekend #eminem #nicki minaj #childish gambino #kendrick lamar #kanye west #jay z

[happymetalgirl]

Lindemann - F & M

The surprising part is not Rammstein’s Till Lindemann and Swedish Renaissance man Peter Tätgren releasing another album together after the two minds met on 2015’s debaucherous Skills in Pills; it’s that the duo’s sophomore collaboration together coincided with Rammstein’s return from their ten-year silence this year. It’s not the wildest thing in the world for the two releases to come out the same year, but I just wasn’t expecting it with how much Rammstein was clearly putting into their self-titled album this year. And I don’t just bring this up for the mere statistical content; it will come up later.

While this project (Lindemann) is a duo on paper, and while Per Tätgren’s instrumental talents drive that front of the duo’s music, Lindemann, as its being named only after the Rammstein frontman, is more of a solo project in spirit, with Tätgren serving his usual purpose as a hired gun to help Till Lindemann achieve his artistic vision. Much like how his Rammstein compatriot Richard Kruspe had chosen to do on his side project, Emmigrate, Till Lindemann sang entirely in English on his solo project’s debut record, Skills in Pills, for which the Rammstein frontman had clear artistic reasons. While not shy about taboo or uneasy topics in Rammstein’s music, Till Lindemann’s poetic talent has given extra artistic depth and creativity to the band’s approach to such challenging subjects, their fearlessness to write songs about the most uncomfortable of topics becoming a big part of their notoriety and identity, and their singer’s astute wordsmithery allowing them to do so beyond mere shock value. With Skills in Pills though, the Rammstein singer wanted to express himself and his promiscuous side more personally and in primal honesty. The songs on the album generally revolve around sex and Till Lindemann’s personal experiences and fantasies. And the readily understandable and more upfront English lyricism (in comparison to his German lyricism) really highlights the primal lust within the various songs, with songs like “Fat”, “Ladyboy”, and “Golden Shower” being pretty self-explanatory by their titles alone. It’s an album that really captures that overwhelming urge of being really horny for something and just being like “ugggggghhhh, I just wanna fuckin’ get pissed on right now! AAAAGGGHH!!!”. While that’s not my thing, I get the feeling. There’s no song about eating ass, though, which is a travesty. But I’m sure someday we’ll get a Rammstein song about eating ass. The highlight of the album though, is probably the morbidly comical “Praise Abort”, on which Lindemann complains about having too many damn children because he only has sex without a condom and is jealous of all his friends who can indulge themselves rather than some thankless offspring. Musically, the album isn’t too far off from the industrial metal the German’s main band makes, though with a focus more on rocking grooves rather than crushing metallic power.

On F & M, standing for “Frau und Mann” (man and woman), Lindemann returns to writing in German, which does see a return in lyrical complexity and creativity, but not as consistently as it was on Rammstein’s album earlier this year. The album starts out with the invigorated arena chugging of “Steh auf” (Stand up), whose chorus’ emboldened call to get up out of bed is given some foreboding eight-string treatment by Tätgren. The speaker of the song is eventually revealed to be not just Lindemann urging us to get off our asses, but a character in a much darker tale, a child begging their wasted or perhaps even fatally overdosed mother to get up and take them to the circus. It’s a fucking grim piece of poetry in the same vein as “Puppe” off the self-titled Rammstein album, another testament to Till Lindemann’s ability as a compelling poetic storyteller of the most ghastly variety.

At its best, the album is full of the kind of poetically insightful and captivating writing that Rammstein is known for, and with the powerful instrumentation to back it up. And while it peaks early with “Steh auf”, there are plenty of worthy tracks on F & M that seem to have been written in a similar mindest to what much of Rammstein seemed to have been written in. “Allesfresser” (German for omnivore) is another synthy, dancy, and unsettling banger about insatiable consumption that at first seems to just be about plain old indiscriminate gluttony, but the song seems to be about relating that to overconsumption on a larger scale, humankind eating up everything in the world carelessly and to the sound of music as a representation of our distracted obliviousness to the effects of it.

The industrial metal banger “Gummi” (rubber), about a latex suit fetish, both sounds and reads like something that would have been right at home on Skills in Pills, while the similarly BDSM-motifed song “Knebel” (meaning “gag”) is this kind of comedically pathetic, poetic, woeful, and intentionally surface-level meditation on the general struggles of life (by a speaker who seems like the archetype of a frustrated disenfranchised man with ample privilege) over some bare acoustic folk instrumentation interspersed with this expression of loving “you” with a gag in mouth, which seems more about this kind of person actively silencing anyone wanting to interject their own perspective into his masturbatory meditations on destiny and the hardness of life, which explodes suddenly into a metallic tantrum of “I hate you.” All in all, pretty funny (or maddening) song depending on how you look at it. In a similar vein, “Ach so gern” is another accordion-laced, campy, café-folky ballad about a womanizer recounting in seemingly increasing insecurity his pushy sexual conquests. The kitschy tone of the song leads me to believe that this character is being made fun of, but it is hard to read that in the lyrics’ portrait alone.

Another tongue-in-cheek cut, the choir-backed industrial rocker “Platz Einz” seems to be a similarly silly portrait of deluded overcompensation about the egotistical, autofelatiolic attitude of a bigtime music star. The cleverness of the song is in the tone of course, and the bombastic production certainly helps out with that, though it’s such a closely performed piece of acting that it’s uncanny distastefulness makes it a not so fun song to listen to, which might be kind of the point.

The song the album’s title is derived from “Frau & Mann” simply lists a whole bunch of opposites as if to point out how silly the reductiveness of everything into binaries is, leaving the inclusion of man and woman in that list to be, well... I don’t think I need to spell it out. While I appreciate the lyrical concept of breaking down gender binaries, the song musically is kind of bland and features this kooky “ay ay ay!” sort of chant that I just can’t take seriously, but maybe that’s also part of the point.

The album is not without its flatter moments though, songs that feels like they might have been odds and ends or unfinished projects from Rammstein’s most recent recording sessions, as they sound similar in tone and structure despite Peter Tätgren’s embellishments. The second track “Ich Weiß es Nicht” is a more industrially heavy, yet also dancy, track about the confusing haze of amnesia, not the most lyrically or musically creative track on the album. The song “Blut” is a big choir-backed lament seemingly about self-harm in the form of cutting or even suicide. The lyrics are kind of vague and romantic, but it’s possible there’s something I’m missing in the tone of it all since I’m not a native speaker. “Schlaf ein” is probably the most underwhelming song on the album, a kind of cheesy orchestral piano lullaby, not really doing anything at all musically exciting or lyrically interesting. It sounds like a generic part of a kid’s movie soundtrack and the flowery imagery is nothing new for Till Lindemann, who is punching quite below his weight on this one.

On a more mixed note, while the shoulder-shrugging lyrics of the closing string-laden ballad don’t really do much for me, the gradual swells of the instrumentation and Till Lindemann’s vocal performance over it are enough to make up for it.

It can’t be said for certain, but for better and for worse, much of F & M seems to be made up of leftovers from the latest cranking of Rammstein’s creative mill, tracks that might have been made into B-sides on that album. There are some bright highlights that would have sounded great on that album in place of other tracks, but perhaps deemed too thematically redundant, like Till Lindemann had the choice to include either “Puppe” or “Steh auf” on Rammstein’s seventh album and ultimately went with “Puppe”. And despite its several eccentric moments and arguably more consistent composition, F & M lacks that flamboyant character that Skills in Pills had, and it seems more like a decent Rammstein leftovers album than a Lindemann solo album.

I’ll still take it/10

#Lindemann #F & M #industrial metal #industrial rock #metal #heavy metal #new music #new album #album review

[midnightiscoming-kasabian]

Kasabian's Serge Pizzorno: 'Being pretentious is my number one fear'

Tim Jonze - www.theguardian.com - Photo: Neil Bedford

2 Sep 2019

He’s the lairy lad rocker who scored one of the best ever goals on TV – in winklepickers. Now he is aiming to be music’s answer to David Lynch

Serge Pizzorno is looking back at the rise of his band Kasabian and trying to pinpoint when it all became a bit too much.

“You’d turn up at shows and there’d be 20-odd trucks there, a catering team, loads of people everywhere,” he says. “And you’d think, wow, this is actually a job for a lot of people, and it all rests on these four maniacs!”

This was in 2017: the band had just completed their sixth album, For Crying Out Loud, released to mixed reviews, and all was not well in camp. After 20 years together, Pizzorno was worried the band were getting stuck in a rut. And then there was the personal turmoil: not for songwriter Pizzorno, who had settled into family life in Leicester (he has two boys, Ennio and Lucio), but for Tom Meighan, the band’s wild-eyed frontman.

Mimicking their idols Noel and Liam Gallagher, Pizzorno wrote the songs while Meighan brought the stage presence, preposterous quotes (“Our songs sound like we’ve shit ourselves 10,000 feet in the air”) and ludicrous tales. Band legend had it that, whenever Meighan became too much to handle, the other members had to take him to the nearest Toys R Us store to calm him down. But following a split from his partner, the relentlessly upbeat singer was struggling. He cried in one interview at the time.

“Tom’s still figuring things out, but he’s in a much better place now,” says Pizzorno when we meet for coffee in London. But it’s no wonder they needed time out. “I was worried we would get stale. Sometimes you need to go down the rabbit hole to refresh things.”

The SLP is that rabbit hole. It’s his initials – his full name is Sergio Lorenzo Pizzorno – and the name of his forthcoming solo album, recorded at his home studio, the Sergery (yes, really). With its guest appearances from Little Simz and Slowthai, and wild eclecticism, it’s reminiscent of Gorillaz – a cartoonish world constructed as an escape from the pressures of being in an enormous band.

Pizzorno sees it less as a new direction and more a return to the way he started off making music. Back then he was using an old Atari and a Midi keyboard; these days he’s been recording on his phone, stealing snippets from 70s Italian horror movies, “weird Polish shit”, and whatever grabs his attention when he’s out and about.

“I’ll be in Tokyo, hear the buzz of the electricity running through the pylons, and be like...” he waves his phone in the air, as if frantically trying to record the sound. “All my mates will be taking the piss. And even in my own head I’m thinking, ‘I’m never gonna use this.’ But this time I did.”

Indeed, the buzzing pylons make it into The Wu, an incredibly odd song about wandering through hotel corridors in search of the afterparty. It’s a case study in Pizzorno’s esoteric influences, from the South African disco label Heads and Lee “Scratch” Perry to the late Nigerian synth wizard William Onyeabor. Elsewhere there’s Mediterranean house (Nobody Else), mariachi meltdowns (Meanwhile … in the Welcome Break) and, in ((trance)), the kind of joyously anthemic track that wouldn’t sound out of place in, well, a Kasabian set.

Did the rest of the band not think: can’t we have a couple of these tunes? “It’s probably testament to why we’re still together that they didn’t mind,” says Pizzorno. “Tom understands that you need to explore what else is out there. Otherwise you become the band everyone expects you to be.”

The irony is that Kasabian have never been the band a lot of people think they are anyway. When they emerged in the early 00s, with electro-influenced rock anthems such as Clubfoot and LSF, they were stereotyped as lairy lad rockers, when in reality they were just as enamoured by hip-hop and acid house.

“On our first record I would wanna sit people down and go, ‘No, no, no – this is where we were fishing for that stuff, Can and Neu! or whoever. But whatever we said, the journalist would just ask us about the Happy Mondays. I soon realised it was best to just keep your mouth shut, because if you’re still able to make albums and art, who cares where it comes from anyway?”

I interviewed the band a few times back then and always found them far kinder and more erudite than they were portrayed (“On the road carnage with rock’s rowdiest band!” screamed one NME cover line). But it’s fair to say, with their wild tales and boasts, they played up to it.

Was the lad thing a bit of an act? “We knew that journalists wanted it,” says Pizzorno. “But at the same time, we did grow up where, if you wanted to be in a band, you had to have your wits about you. If you’re playing in a village pub in Leicester in front of a load of lads that would throw darts at your head for having long hair, you can either go in and be all art school, or you can snap a snooker cue in half and say, ‘Let’s go!’ But then I still wanted to get them in the corner and talk about Jodorowsky afterwards.”

Pizzorno’s lad-rock credentials were no doubt enhanced by two televisual moments: a goal on Soccer AM, in which he improbably flicked the ball up in the air while wearing winklepickers before volleying it into a tiny hoop; and an even better strike during the Soccer Aid charity match that saw him scoop the ball over former England keeper David Seaman’s head and into the top corner of the net. The mention of these acts of sporting glory makes Pizzorno groan: “You’ll work for ages on a piece of music or art that you’re really proud of. But kick a ball through a hole in an inflatable bouncy castle and it’s what you become known for.”

Come on though, which was his favourite goal? “With the Soccer AM one I’d been up all night, I was hanging. If I was sober I’d never have even tried it. But the [Soccer Aid] one … not only is it a great goal, but for five minutes after scoring it, I’ve never been more off my nut in my life. As a pure sledgehammer hit of adrenaline, it was insane. God knows what it would be like to score in a World Cup.”

Less impressive when it comes to lad stereotypes was a cover of Q magazine, on which Meighan and Pizzorno appeared alongside two naked ladies, something that even back in 2011 looked like a relic of a bygone era. Pizzorno groans again, but this time he means it. “That really kills me,” he says. “It was sold to us as Jimi Hendrix, Electric Ladyland, a celebration of 60s psychedelia. But we learned an important lesson there – we need to take control over every element.”

Pizzorno says the band have always been more inclusive than people give them credit for. “Art can be the start of something. At [Kasabian’s] gigs you only have to look at the first few rows to see there’s people from all over the world, with completely different views on how things should be done, but at least we’ve got them together.”

There’s a song on The SLP that addresses this, the final track Meanwhile … in the Silent Nowhere. “It’s about communication,” says Pizzorno. “Previously, even if you were rightwing or had extreme views, it felt like there could be some sort of dialogue where you could at least hear each other’s stories. Now it feels like, ‘This is my belief, fuck you’ ... there’s a danger in us not sitting down and talking face to face.”

What does he think of the current political situation? “It’s like Vegas. Fundamentally, the system is rigged and whatever you implement, the outcome will be the same. You’re probably talking revolution here but we need someone to come along and start again.” Is Jeremy Corbyn that person? “He’s the best shot we’ve got ... but I think there’s more. There’s someone else out there that can marry spirituality [with politics] and break the system and get us to start again somewhere better.” He laughs: “I think I’m just waiting for the messiah.”

Right now, Pizzorno has more pressing problems than the overthrow of capitalism: how to be a musician without Meighan by his side. He’s planned an impressive stage show, with different characters performing each song. It sounds ambitious. “But in a really minimal way,” he stresses. “Not overblown, the opposite to lasers and screens. It won’t be pretentious. Pretentious is my number one fear.”

Will there be costume changes? “Very subtle ones. There might be a hat. I might be barefoot. Fundamentally, I want it to be like a David Lynch thing, where people feel on edge, as if they’ve entered another world for 50 minutes.”

Pizzorno says he knows he can never compete with Kasabian’s enormous gigs – those gigantic, truck-bearing affairs with catering teams and staff everywhere. “But the aim is to get to that same euphoric point,” he says, “just in a whole new way.”

The SLP is out now. The tour starts on 5 September at Glasgow SWG3.

#kasabian #sergio pizzorno #the s.l.p. #interviews #interviews 2019

[rainydawgradioblog]

Interview: Guerilla Toss - 09/26 @ the Vera Project

Guerilla Toss is a NYC-based experimental rock / synthpop / psychedelic / post-funk / prog-whatever / everything in between band signed to DFA records who is currently touring all throughout the continental US. This past Saturday, before their show with Calvin Johnson and Behavior at the Vera Project, my friend Anna and I were graciously invited into their tour van decked out with psychedelic decorations to chat with vocalist Kassie Carlson and hang out with her internet-famous Chow-Chow Watley. Enjoy the interview and catch them in these cities in the coming weeks!

Elliott: Hey! Thanks for taking the time to talk to me! How are you doing?

Kassie: Good, good! Just got done with soundcheck.

Elliott: Cool! How far into your tour are you guys at this point?

Kassie: Not that far actually, we’ve only done four dates or something, but we drove out here.

Elliott: That’s a long drive.

Anna: You guys just did Salt Lake, right?

Kassie: Yup, Diabolical Records. We were just in Portland, then Vancouver, then here.

Elliott: Cool, enough talking like a normal person, I’m gonna ask you a bunch of convoluted questions now. First of all, this bill is kind of wild, Calvin Johnson is another one of my favorite artists. How did this show come together? Are you guys big K Records fans?

Calvin Johnson and band opening the show.

Kassie: Calvin actually played at our light and projections person’s record store in Macon, GA. So that’s how we made the connection, and Calvin was really interested in coming here!

Watley gets up and walks around.

Elliott: Hi Watley!

Kassie: Sit! Watley…

Elliott: Have you had any other particularly cool openers this tour so far, or in recent memory?

Kassie: Well, the other opener tonight is Behavior, a couple members of Wand, the drummer and guitarist, so I’m really excited about that!

Elliott: Nice, I just saw Wand open for Stereolab!

Kassie: Cool, yeah, it’s an epic bill.

Elliott: I’m excited! I also noticed last time I saw you guys, you busted out a violin which was a bit unexpected but really cool! Are there any other instruments members play that you would maybe want to use on Guerilla Toss stuff?

Kassie: I also recently got an OP-1, which has been cool to experiment with. There’s lots of sounds, and this guy Cuckoo on Patreon puts a lot of samples for the OP-1 online for super cheap, like you can buy stuff for a dollar. He always puts up new stuff, so I’ve been getting down that rabbit hole, but yeah! I’ll be playing it tonight, it should be fun!

Anna: That’s a difficult purchase to make these days! Those things are not easy to come by.

Kassie: Yeah, me and the drummer split it. And we got it on eBay or something, it was used.

Anna: Those things are great.

Elliott: I’ve also heard you guys like to do band hikes. I also interviewed your friends Palberta on Rainy Dawg a while ago…

Watley steps on voice recorder, and tries to get out of the van door.

Kassie: Watley!

Elliott: Haha! Anyway… Palberta told me they bring a rice cooker and camp every night on tour. Are there any other activities people typically forgo on tour that you like to make time for?

Kassie: Yeah, we just went to Moab on this tour, to the arches. It’s good to get out of the van and stretch your legs a bit. That was fun. It’s cool to drive around, sometimes there’s not time to do the hiking thing, but we took some days off this time around so we’re not in the car for 8 hours. It’s good for morale.

Anna: Moab especially, it’s so nice.

Kassie: Yeah I’d never been, so it was cool to make it out there.

Elliott: So, it feels lately like vocals being more forefront in recent material, that the music is driven more by lyrics and melody. I got into you guys via Gay Disco, but my favorite of yours is GT Ultra. It feels like my experience as a listen has changed a lot, you cover a lot of ground in that there’s different ways to enjoy Guerilla Toss as a listener. Do you feel like your writing process has significantly changed?

Kassie: Well we’ve mostly just been shifting things around and trying different things to keep it fresh. It’s lots of fun, yeah!

Elliott: And about writing stuff, I know you’re very into jamming, you improv a lot live. Does writing material ever come out of that?

Kassie: We mostly just improv between songs. They’re all through-composed, and all have parts that are pretty specific. Sometimes we’ll write songs by jamming for a few hours, but a lot of the time, say Peter (drummer) will come in with a part of a song, or a skeleton of a song, or even a full song, which is how it’s mostly been lately, and then I’ll put some vocals on it, and we’ll try different things, different instrumentation.

Anna: Are there any members that bring more in terms of song structure?

Kassie: Definitely Peter brings the most, but I do all the vocals, everyone does their respective parts.

Elliott: Cool! Do you have a particular favorite piece of gear? Anything that might have inspired a song or a moment in a song?

Kassie: Yeah, I have a red Boss V-20 vocal pedal, that I use a lot and I really like. I use it for harmonies, there’s chorus on there, there’s delay and reverb, harmonies and doubling. I feel like it just helps my voice feel a lot thicker and more present, you know. It gives me more control over my sound. A lot of the time in venues, especially DIY venues, it can get buried. And also I want to be more true to the recording, like in “Betty Dreams of Green Men,” there’s those harmonies that come in off and on, so I use the pedal to create that harmony.

Anna: And what you said about DIY shows, getting sounds that are accurate. Do you play a lot of stuff like that now?

Kassie: No, not as much lately. But even in bars and stuff, it can be tough. We don’t travel with a sound person, we’re not playing stadiums.

Anna: Is that a shift that you miss at all?

Kassie: Not really. I like being able to hear myself when I sing, so it doesn’t hurt my voice as much. Of course I love the vibe of DIY venues but there’s good things in the middle, where your friends from DIY shows will come, but it won’t get shut down, and we have money for gas and stuff like that.

Elliott: Gas money is definitely important.

Trucks passing by.

Kassie: Watley’s scared of the trucks…

Elliott: So I have a question that’s part fun fact, part question. Your Wikipedia page, where it says you encourage tapers at your show, it used to say you encouraged tapirs, like the weird little animal. It was a typo but it actually linked to the tapir page!

Kassie: Oh weird! I didn’t notice but that is sick.

Elliott: Yeah, someone actually linked it to the page!

Kassie: That’s awesome!

Elliott: So that got me thinking, there probably haven’t been many tapirs at Guerilla Toss shows, but I think it would be sick! What sort of animals would you want to see at a Guerilla Toss shows? Also, these hypothetical animals have all the hypothetical ear protection they need.

Kassie: A lot more chows! We also really like otters. We were talking a lot during our soundcheck about snails. So snails would be cool. Snails all over the place. But really animal would be interesting!

Anna: Species-inclusive venue!

Kassie: Yeah! Oh, and bison, Watley loves bison. A few cows. He loves cows, he’s always looking at me like “Mom, did you see that? Woah, look there’s cows!” Yeah, good boy!

Elliott: Does Watley have a favorite Guerilla Toss song? Is he gonna get a feature anytime soon?

Kassie: He might actually, yeah!

Anna: A bark sample, that must be fun to work with on the OP-1! 

Kassie: Yeah, that’s one of the many things that are on my to-do list for sure.

Elliott: Hell yeah, I’m stoked for that whenever it happens. You guys seem to have a lot of collabs, one-off releases, live albums, splits and stuff. Do you usually come into those thinking “we’re gonna write an album” or just a song, or working with somebody, or is your writing process usually the same for those?

Kassie: We usually just create a whole album, we only did that one split with the Sediment Club. The live album was a cool project, that was completely live, we recorded it in Nashville.

Elliott: You also have that remix album with Jay Glass Dubs?

Kassie: Oh yeah, that was just a DFA thing, he totally did that himself.

Elliott: Cool! So visuals are clearly an important part of Guerilla Toss, I was wondering if you look at these different forms of visuals in the same way, like do you tie in live projections, music videos, album art or do you view them separately?

Kassie: They’re kinda separate. Lots of different people do our album art. Keith Rankin did a few, the most recent one was by someone named Yu Maeda, and before that was Jacob van Loon, he did Twisted Crystal. And then GT Ultra is actually acid strips from the 70s.

Anna: That one was a particularly cool design. Do you mostly reach out to the artists to do the art?

Kassie: Thank you! And yeah, it’s usually something they already have done that we use, but a couple of the ones from Keith Rankin were commissions.

Elliott: Cool! So, I feel like your albums tend to have a coherent sonic palette, but they cover a lot of ground as far as the songs go. Do you come into recording an album with a bunch of songs you’ve written or do you write specifically for an album?

Kassie: I think Peter is pretty much always writing music, and we already have new music we’re working on for after What Would The Odd Do, so it’s just kind of a constant stream of stuff, lots of never-ending recording and never-ending writing.

Elliott: Cool, well I didn’t write anything else down.

Kassie: Alright! Any other random questions?

Elliott: Not that I can think of. I’m excited to see you guys play!

Kassie: Hell yeah!

Anna: Actually, I usually ask touring bands this. What kind of stuff have you been listening to on the way over?

Kassie: Oh all kinds of things! Listened to a little Battles.

Elliott: Oh nice! The new one, Juice B Crypts?

Kassie: All of the albums! I think it was a consensus that we liked the earlier albums better, but hey, that’s something people always say. I like it all! It’s pretty cool.

Elliott: Cool, well thank you for letting us in the van and talking with us!

Kassie: Of course! Can you unhook that leash?

Elliott: Sure!

Kassie: (to Watley) Let’s go pee!

- Elliott Hansen

#guerilla toss #dfa records

[useless-catalanfacts]

Hi, do you know if there are any sources about ball del Contrapàs in English? I'm really curios about the maths involved and unfortunately know only some very basic Catalan.

(ask in reference to this post)

I couldn’t find anything about it in English, and even in Catalan the information online is not very specific and there’s not much, since Prats de Lluçanès is very small and the tradition almost got lost in the 1950s (it was re-learned in the 80s by a new generation who asked the elder farmers who still knew it).

Basically they say it’s based on geometry. There’s parts of the dance that are danced in groups of 4, but the big parts are danced by huge groups forming “chains” that move around the square. They have to circle the square in the time that a specific part of the song lasts for, and they have to end in the same place that they started in. I found a radio programme where they interviewed a woman from that village and she also mentions that (similar to sardanes) they have to count how many steps of each kind of steps to take in each part of the song. In sardanes, we count how many bars a song has, then divide it between “long” (4 bars-long) and “short” (2 bars) steps, which alternate each other when there is a change in the song, and the last step will always be 3 bars long (or in some areas it’s a double 3 bar, or in others 2 bars but danced as if you were going to do the long ones). You also have to alternate contrapoints between them. You also have to take into account that the dance will have to finish with the same foot you started it with. So depending on the song they play, all of this will be different because there will be a different number of bars and they will be distributed differently.

They also say that nowadays in Prats de Lluçanès there’s so many people dancing the contrapàs that they don’t really know what they’re doing anymore, they just follow the steps more or less and have fun, but they’re not as strict as the old farmers used to do be until the 1950s.

Even if I can’t really tell you specifics about this dance, maybe you’d nevertheless like to hear about some of the math involved in sardanes (which, being our national dance and a bit more well-known to foreigners, has some information in English). Like this short article explains:

“The llargs [long steps] section traditionally has an odd number of measures between 63 and 95, inclusive. To determine how to end the llargs section, we divide the number of measures by 8, because, as just seen, this is the number of measures that takes a whole round starting with the left and then with the right. We obtain a residue that can be either 1, 3, 5 or 7. The number of measures that have residue 1 are: 65, 73, 81 and 89. With residue 3 are: 67, 75, 83 and 91. With residue 5 are: 69, 77, 85 and 93. With residue 7 are: 63, 71, 79,87 and 95.

There are two types of ending steps, a dos and a tres, that are used to end a Sardana; these steps last two and three measures, respectively. Whenever we have residue 1 or 5, we do a dos and a tres at the end (for a total of 5 measures); in the case of residue 1, the last llarg is eliminated. Whenever the residue is 3 or 7, we do two dosos and one tres (for a total of 7 measures) at the end; in the case of residue 3, the last llarg is eliminated.”

And like this other article adds, “Knowing the number of measures in each section iscrucial to dancing the sardana, since the closing steps mustbe prepared in advance. While, as I said before, theblackboard in front of the band sometimes lists the measurebreakdown (for example 25/79, meaning 25 measures ofcurts and 79 of llargs), using thatinformation seems to be somehow regarded as cheating, andthe convention is that dancers (at least some of them) countthe measures; you can actually see their lips moving. Sincethe full count is not known until the first tiradaof llargs has been played, it’s on thesecond llargs that the dance can begin.”

#(i have to admit i never learnt how to count the sardanes steps i just follow the grandmas) #(but i'm from the south so it's not a mortal sin) #ask #anonymous #dansa

[griefshark]

REVIEW: Is Blink-182’s NINE Secretly Their Best Album Yet?

No. No, it is not. One could reasonably argue that the album’s pitfalls far outweigh its few redeeming qualities. One could also argue that NINE is barely a true Blink-182 album at all, but we’ll discuss that more shortly.

Before we dive headlong into a deconstruction which will inevitably lead to personal attacks and threats of grievous bodily harm, let me clarify my position. NINE IS NOT an inherently bad album. It IS a bad Blink-182 album.

It is not uncommon for a group to evolve and alter their sound accordingly. Careful note should be taken, however, to point out that NINE and 2016’s California are products of a fairly different entity than the band’s former iteration. When you take the vermouth out of a martini, it’s no longer a martini.

That’s not to say such albums produced with a new lineup can’t be enjoyed for what they are. It just becomes significantly more difficult not to draw a comparison between NINE and albums like the Blink-182′s seminal 2003 self-titled outing when the band seems determined to make said comparison unavoidable. Ergo, though we’ll attempt to look at this newest catalogue addition with fresh eyes and ears, there are some points that must be addressed.

NINE opens up with “The First Time,” a track that introduces the album with flanged drums before firing into a distorted riff from guitarist Matt Skiba. Though the ensuing guitar part is dissimilar enough, the rest of the track is too reminiscent of “Feeling This,” the first track from 2003’s blink-182, to have been purely coincidental. It doesn’t help that both songs are in the same key.

The next two songs, “Happy Days” and “Heaven,” are laden with hopefully defeatist lyrics (the former about persisting through feeling “lost and alone” in a cold world and the latter repeating the chorus “heaven doesn’t want me”), yet maintain a banal, saccharine tonal spectrum unbefitting to the content. There is also a point to be made that the chorus of “Happy Days” sounds quite similar to that of Gorillaz’s “Superfast Jellyfish” from their whimsical 2010 release Plastic Beach, though this seems moot.

Tracks like “Generational Divide” and “Ransom,” arriving later in the album, stray from the monotony, but seemingly intentionally so. Both additions come almost as perceived afterthoughts as they clock in under a minute and a half and are out of place within the context of the album as a whole. Their inclusion appears to be a practice in stretching certain “punk” muscles from an entity whose “punk” tendencies atrophied with the departure of founding member Tom DeLonge.

Another notable tune, “Black Rain,” is one of the more listenable songs on the album. However, it almost sounds as though it was an unfinished Alkaline Trio song into which Blink-182 bassist Mark Hoppus unceremoniously shoehorned his own parts. Such a scenario would not be particularly absurd as Alkaline Trio (of which Skiba is a founding member) released a new album as recently as late August of 2018.

Really, the best piece from NINE comes in the form of the band’s second single “Darkside.” The song itself is significantly more of a toe-tapper than the rest of the hoard and it utilizes Skiba in a way most of the other tracks do not, though it unfortunately comes with its own pitfalls.

“Darkside,” as with other tracks on which Skiba’s vocals are prominently featured, presents an odd affectation to said vocals which seems to be a result of over-processing. Whether this was intentional or a product of excessive tuning on vocal tracks, it’s somewhat off-putting, but not ruinous to the song in entirety.

The real issue sits with this song’s music video which depicts the band amongst a crowd of young children performing dances referential of various memes and current popular cultural phenomena. For an outfit whose youngest member (guitarist Skiba) is 43 years old, such a visual wreaks of an ingrained craving to remain relevant. The irony is, of course, that dating themselves in such a way will inevitably relegate this video (for a genuinely good song) to obscurity.

Ultimately, it’s important to recognize that NINE is not a punk album. It is a pop album by a pop rock band. It is also not a proper Blink-182 album.

NINE is, however, a good sophomore showing of such a pop-oriented style from a formerly pop punk lineup. NINE is consistently sufficient without ever achieving notable excellence. As such, I will award it 4.5/10 children flossing.

#blink-182 #NINE #review #pop music #pop punk #pop rock

[watusichris]

Thank you for “Days”

I’m starting to gear up for the Wild Honey Orchestra’s Feb. 23 benefit, which will feature a complete performance of “The Kinks Are the Village Green Preservation Society.” One of the songs originally earmarked for that album but left off the final release was the beautiful “Days.” Here, excavated from my Facebook notes for your pleasure, is something I wrote about the tune in 2010. **********

Of late, I’ve been gravitating to the Kinks’ 1968 song “Days.” I can think of few songs of the rock era that are finer or more moving. It’s always been a favorite, but it acquired fresh resonances as I listened to it again recently. A little background: Ray Davies, the Kinks’ principal songwriter and lead vocalist, penned “Days” sometime during a burst of activity in 1966-68. The number was recorded in May 1968; it was a tumultuous session even by the quarrelsome band’s highly combative standards, and climaxed with an argument that helped precipitate original bassist Pete Quaife’s exit from the group in 1969. The song was originally intended for inclusion on the quartet’s 1968 album “The Kinks Are the Village Green Preservation Society.” However, Davies’ ongoing indecision about the contents of the album, and his label Pye’s unwillingness to market it as a two-LP set to accommodate his large backlog of songs, led to the number’s excision from the record’s final track listing and its release as a modestly popular British 45 in June 1968. (Finally issued in November 1968, “Village Green” was a critical success in America and ill-received in England; it flopped commercially everywhere. It is today perhaps the Kinks’ most cherished work.) On these shores, “Days” was first intended for an odds-and-sods compilation, “Four More Respected Gentlemen,” which was ultimately scotched by the group’s U.S. label Reprise. The song would finally get an American release on the cobbled-together two-LP set “The Kink Kronikles" (1972). It can be heard in both stereo and mono versions on Essential/Castle’s single-CD reissue of “Village Green” (1998), and on Sanctuary’s expansive three-CD release of the same album (2004), both of which include several songs recorded during sessions for the album and orphaned for various reasons. (I prefer the mono rendering of “Days”; the wide stereo separation reduces the track’s instrumental focus and takes the edge off Davies’ nuanced vocal.) Here’s a link to a lip-synced performance of the song from a 1969 U.K. TV show: https://www.youtube.com/watch?v=MzpShIhvrjU According to Andy Miller’s informative little book on “Village Green” (Continuum/33-1/3, 2003), Davies declined to perform “Days” again publicly until after the late Kirsty MacColl’s rendition reached No. 12 on the British charts in 1989. (Elvis Costello would also essay the song, including it on his 1995 collection of covers “Kojak Variety.”) At first glance, it’s easy to see why Davies at first believed that “Days” could occupy a spot among the tracks on “Village Green.” As released, the album dwelled on fast-vanishing elements of English society, and glowed with a burnished nostalgia. It was packed with backward-looking tracks, some of them loving, some of them slightly sardonic: “The Village Green Preservation Society,” “Do You Remember Walter,” “Picture Book,” “Last of the Steam Powered Trains,” “Village Green,” “People Take Pictures of Each Other.” “Days” has a similarly golden hue to it; it sounds the way Terrence Malick’s film “Days of Heaven” looks. Kicking off with two bold major chords, it hangs on a regularly repeated ascending five-note phrase (“Thank you for the days”), echoed melodically in the rise and fall of the rest of the refrain (“Those endless days, those sacred days you gave me”). Masterfully poised, and pitched somewhere between a ballad and a rocker, the song slowly gains power over the course of its two minutes and 52 seconds. It is initially cast as a benediction for times past, and an embracing glance at a departed lover or loved one: I bless the light, I bless the light that shines on you, believe me And though you’re gone, You’re with me every single day, believe me At first blush, this is a number typical of “Village Green,” cocooned sweetly in the past. But “Days” doesn’t shut out the darkness in that past, and is sung in a present that’s uncertain and harrowingly real. It doesn’t take long for Davies to telegraph this – about 45 seconds, in fact. Those endless, sacred, unforgettable days were also “days when you can’t see wrong from right.” The song modulates upward, and Davies’ singing takes on a new urgency: You took my life, But then I knew that very soon you’d leave me But it’s all right Now I’m not frightened of this world, believe me “You took my life?” What a curious choice of words: to reflect on an affair as if it were an act of homicide. You could look at this odd turn of phrase as a statement of all-encompassing love, but in the succeeding line the singer explains he understood the transitory nature of that love almost from the first. As if to deny the singer’s assertion that he’s not “frightened of this world,” amended with an emphatic “believe me” -- an unsettling lyrical motif, with its note of desperation -- the song plummets into a tremulous minor-key bridge about a minute in, with Dave Davies supplying uneasy harmony and sideman Nicky Hopkins’ Mellotron line rising in the mix to exert a somber undertow: I wish today could be tomorrow The night is dark, it just brings sorrow Let it wait The song then repeats itself in an almost incantatory swell, verses reshuffled and minus the bridge, and ends with Davies drawing out the word “Daaaays” like a long dying sigh, as the band, climbing up the scale in a surge to the finish, wraps it with an ecstatic restatement of its opening, almost triumphal unison chord. Quite a tune: A love song, offered as a blessing, about a love that is already over, at once beaming with blinding light and bearing a core of cold dread. It’s among Ray Davies’ most remarkable and subtle songs; to my mind, it makes even a number as arrestingly beautiful as “Waterloo Sunset” sound obvious. It’s all the more astonishing when you consider that its author was not yet 24 when it was recorded. The complexity of its emotion and the sophistication of its execution, both lyrically and musically, are startlingly mature. I cannot concur with Andy Miller’s notion in his “Village Green” book that listening to Davies perform “Days” is an act of “nostalgic communion.” Nostalgia is a feeling of wistful longing. The singer of “Days” venerates his memories, but can’t roll back time and recapture what’s been lost. He’s very much in the now, unable to retreat to those “sacred days,” and fearing that moment when the night falls on him, alone, on the knife edge of another day. This is not the stuff of which “Village Green” is largely made. There is an insurmountable wall between the past and the present in “Days”; to fail to acknowledge that wall is to misapprehend the song’s dimensions. If “Days” has anything in common with any of the songs included on “Village Green,” it’s not with Davies’ yearning songs of bygone Blighty, but with “Big Sky,” the collection’s great anomaly and its most devastating achievement– a terrifying conjuring of a heavenly deity so immense and remote that he cannot hear or sympathize with the cries and the agony of his earthbound supplicants. Pain writ large in the cosmos in “Big Sky” is probed on an intimate, bed-sit level in “Days.” One always runs a risk when characterizing a Ray Davies song as “personal.” He is, after all, a master of artifice and role-playing; many of his best songs (like one of my favorites, the louche, hilarious “Sunny Afternoon”) find him assuming a character. At the time he wrote “Days,” Davies’ personal life, though buffeted by professional uncertainty, was on a relatively even keel, and bore no resemblance to the life encountered in his song. He was still married to his first wife Rasa. He was a young father. He was a star with the future in front of him. Yet “Days” feels like a personal song to me. There is no whiff of artistic sleight-of-hand in it, despite the skill of its craft. Its intense tenderness and empathy, its unlikely yet deftly congruent emotive mix of rapture and bleakness, never feels anything less than honest, heartfelt, and authentic. What experience spawned it? Davies is not forthcoming in “X-Ray,” his “unauthorized autobiography,” which is itself a monumental work of literary theater and ironic distancing. No matter its genesis, this great song reveals the full measure of Davies’ genius. Thank you, Ray, for “Days.” I will carry it in my pocket in my own days to come.

[topweeklyupdate]

TØP Weekly Update SPECIAL TRENCH EDITION (10/6/18)

Ya’ll have had time to listen to the album. Some of you have it memorized already. So let’s pick apart Twenty One Pilots’ latest project track-by-track, explore the new themes and sounds that the band is exploring in this era, and also catch up on all of the latest news to come out in just the last two days.

This Week’s TØPics: 

A Complete Look at Trench

My Blood Music Video

Twenty One Pilots to Return to the American Music Awards

New Interviews About the Album

Picking Fights with Gaga? (Not Really, No)

And MORE!

Track Analysis:

Before we get started, we should acknowledge Trench’s wonderful liner notes, which besides boasting some stellar artistic design reveal a great deal of important information about this album. First, the overall cohesion of the album, like with all of the band’s albums save for Blurryface, can be attributed to the shared vision of the same production team on every track. The impact of Paul Meany on this entire album should not be understated: Paul co-produced every track save for “Levitate”, which he is instead given main credit for with Tyler listed as co-producer. He is also given writing credit on half of the album for his arrangements, again including “Levitate”. We musn’t forget the other heroes: the album was mixed by Adam Hawkins and mastered by Chris Gehringer. Also, the “thank you”s are both touching and occasionally very funny (“And to our haters, we know you liked stressed out.”)

I’ve already expressed my thoughts and reactions to the four previous singles in prior updates, so feel free to look back at them to fill in the gaps. 

“Morph” starts us off real strong with an absolutely stellar groove (thanks, Paul). Lyrically, the track features Tyler ruminating on death, considering its inevitability, worrying over its proximity, and questioning what comes after. It’s the most he discusses faith on Trench; Tyler considers looking “above” for answers a “blind belief”, but he still chooses it anyway, with some reservations. Ultimately, Tyler resolves to “morph to someone” else, to stay on the defensive against the insecurities leveled at him by Nico and keep moving forward. The song also features a “Judge”-esque shout-out to our boy Josh Dun within the stellar ending run- fitting, considering just how good his drums sound on this track in particular.

“Chlorine” is a definite highlight off the album, as it constantly mixes up flow and structure while never losing it’s laid-back psychedelic groove and its consistently excellent metaphorical examination of Tyler’s strained relationship with fame. I’ll be singing that hook forever. And the bridge. And that ending break-down that definitely sounds like a No Phun Intended sample. This thing’s a bop, potentially the best track on the whole project- and that’s really saying something.

“Smithereens” is an odd duck that feels like it doesn’t quite fit in on Trench but is nonetheless a very sweet and enjoyable tune. I mean, it’s love song that snuck onto this album that’s literally about writing a love song and sneaking it onto an album; I have to commend Tyler for being ballsy, clever, and artistic with his grand romantic gesture. I also have to commend Mr. Meany for sneaking that beautiful woodwind section in.

Before I even heard the album, I knew “Neon Gravestones” was going to be the stand-out track for a lot of folks. Rock Sound had promised that this would be the song that saves people’s lives, and hopefully it will. Tyler’s spoken word musings regarding celebrity suicide were always going to be controversial, and publications like The Atlantic and Alt Press have already questioned exactly what he means to say with the song. As someone who just recently lost a loved one to suicide, even I’ve struggled with this song’s message somewhat. Does Tyler disrespect the memory of those that have passed by telling us not to glorify them in death? It skirts close to the line a bit, and he certainly could have gotten a bit more specific in how he suggests we should react. But he reigns it back from the edge, as Tyler so often does when discussing mental illness, by placing the focus on his own lived experience. “If I lose to myself” is the most gut-wrenching lyric Tyler’s written in ages, and it really sells that this idea is something that Tyler truly wrestles with in dark moments. We really do have to de-romanticize suicide if we want to have a chance against it, and I’m proud of Tyler for taking those steps in a public way that can also help others. And the production? Simply bone-chilling.

“The Hype”, aka “Wonderwall” meets “Bittersweet Symphony”, is another highlight. Simple lyrics, sure, but comforting ones. Particular praise goes to the ending, when the echo effects layer onto the vocals and the ukulele comes into mix. One of many great “night-time driving down the highway” songs on this half of the album.

“Cut My Lip” is pretty easily my least favorite song on the album, which is not meant a harsh criticism at all. The overall vibe is very enjoyable, and I especially love how Tyler says “contusions”, but the song is just twice as long as the lyrical content actually warrants. It really is largely saved by Josh’s intricate drumming and Paul’s intervention with the reverbing psychedelic synths: it sounds just as sick as the rest of the album in those respects.

The last two minutes of “Bandito” may just be the best part of the entire album; Paul (I assume it’s Paul) really outdid himself with that composition. The rest of the song is great, too, with “I’m still not sure if fear’s a rival or close relative to truth” in particular standing out as an all-time Tyler Joseph lyric. I can’t wait to hear this live... God, I hope this is played live...

“Pet Cheetah” is... weird. But with a name like that, we expected as much, and it only makes all the more sense when considering the subject matter: writer’s block. Tackling that subject head on really seems to have given an extra boost to Tyler’s creative energies: his rap verse is straight-up fire in terms of both wordplay and passion. All in all, a fun curiosity to come back to when we want to remember that time Tyler wrapped about naming a cheetah after acclaimed British action star Jason Statham.

“Legend” is one of those songs that really is beyond criticism by virtue of its subject matter: Tyler mourning the loss of his grandfather. I do wish the song was given a bit more polish around the edges, but it still boasts a gorgeous horn section, and the rough sound helps demonstrate that this was a deeply personal project that we’re privileged to be able to hear at all.

“Leave the City” is the perfect ending note for this project. As Zane Lowe said, it never fully reaches the crescendo it seems to be building to, and all the better for it. The inclusion of a call to “stay alive”, now directed inward toward Tyler himself, remains a powerful rallying cry of hope, even while it expresses a sense of resignation to knowing our personal battles may never end. There’s no clear answer, only the promise that we are not left alone to face what the future holds. And that’s enough.

Taken all together, Trench was not the album I was expecting, and not at all in a bad way. There was relatively little in the way of “Jumpsuit”’s harder edge, nor was it as obtuse and concept-dedicated as the initial marketing had indicated. But it was still incredibly daring and ambitious, tackling song-structures and concepts that few pop artists (if we can still call them that) would dare approach. While I would have loved an album much more strictly dedicated to telling the story of Dema, I don’t know if most people would have, and that kind of railroading would have prevented Tyler from getting as personal and deep as he does here. There are ideas and individual lyrics on this project that have left their mark on me like few pieces of music have since... well, Vessel. It might not match that album in my own heart, but it might also objectively be the best thing they’ve ever done. 

Major News, Releases, and Announcements:

Shockingly, we’re not even close to done. As reported in the last update, the album’s release was accompanied by the release of an all new music video for “My Blood”. Unlike the prior three videos, this narrative takes place completely outside the world of Dema and Trench, featuring two rebel brothers dealing with all that suburban teen white boy angst (been there) and attending a real funky Halloween party in skeleton onesies, all leading up to a satisfying Fight Club revelation.

The video is also the first one since “Tear In My Heart” to not be directed by Mark Eshleman or Andrew Donoho. The Clique’s new friend Tim Mattia has been directing some major music videos since 2012, including Troye Sivan’s Blue Neighborhood project, Fetty Wap’s “Trap Queen”, and major singles from The 1975, Zedd, Chris Stapleton, and many more. You can definitely tell the difference from the aesthetic (particularly Tyler and Josh being relegated to a glorified cameo). Still, it was a refreshing change of pace, and I look forward to seeing if it helps the song pick up any momentum at radio. 

Upcoming Performances:

American Music Awards, Microsoft Theater, Los Angeles, CA

Capacity: 7,100

On Thursday, we reported that Tyler and Josh would be signing copies of Trench in Hollywood this coming Monday. Turns out they weren’t just looking for some California sunshine- they’ll be performing at the American Music Awards. This marks their first professionally filmed performance this era and their first award show performance since... well, the last AMAs, where they put on a stellar show. Current reports state that the band will be playing “Jumpsuit”, but I would not be at all surprised if they mashed it up or tried to do something clever and attention-grabbing. Whatever they play, seeing the boys back playing live will certainly do wonders for promoting Trench- and it will definitely make me happy.   

Other Shenanigans:

Oh, we’re still not done. Irish radio station Today FM aired an interview they held with Tyler back on the Complete Diversion media day. The interviewer is brilliant and asked a bunch of thoughtful questions that show that he’s done his homework and cares for the band and its fans. Highlights include:

Tyler says that he doesn’t want to talk too much about the “easter eggs” of the marketing campaign (probably referring to dmaorg.info) because he feels it might take away some of the punch.

Tyler shares some very wise words about being aware of the cyclical nature of mental health and self-improvement. He didn’t end the album with a definitive answer because he has recognized that, in our individual journeys, we regularly get sent back to Square 1 and then are left all the more discouraged because we feel the effort is futile. Tyler suggests that awareness that will happen in advance- and that we are all doing it together- will help us to get back to the place we fell from more quickly each time. 

Tyler says that it’s incredibly “heavy” to hear fans say they saved their lives, and that he’s tempted to brush it off rather than deal with that weight. However, they recognize that their platform has given them a responsibility to serve their audience.

When confronted by the possibility that folks wouldn’t like the new imagery, the band had to fall back and just do what they thought was cool. They were so relieved by how well the Complete Diversion show went and how receptive everyone was to them.

The band will absolutely be moving forward with this Trench story- it’s not done yet, not by a long shot.

Australian music site Music Feeds also published a text interview with the band that’s another must-read:

Tyler discusses how Trench is largely meant to represent the “space between spaces”. He was particularly feeling strange about leaving Blurryface to approach this new album, so he channeled that struggle with finding yourself in a liminal space into the music.

He’s hinted at it in the past, but I believe this is the first time Tyler bluntly says that Blurryface is Nicolas Bourbaki.

Tyler jokes that they filmed in Ukraine because the workers don’t take lunch breaks and it saved them money.

Tyler says that all of the songs on the album “completely destroyed him”, but says that “Legend” was the hardest of all because of the subject matter and how he was still developing it as his grandfather passed.

Josh is looking forward to playing “Morph” live because of how different the drum pattern is from their previous work.

Tyler’s still listening to a lot of Death Cab for Cutie, while Josh is mostly just listening to podcasts like Lore.

“You can’t touch a hole.”

Also, in case you missed the title image, the band made a cute joke about A Star Is Born, whose soundtrack is increasingly looking like it will knock Trench away from a #1 debut. Some Lady Gaga stans are mad about it, I guess, but come on, that picture is hilarious.

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Listen. We’ve been here for a long time. You’ve done a lot of reading of my inane ramblings. I was going to sum up some of the early reviews for the album, but I think I’m going to save that for the next time. Hopefully I’ll be able to include the opinions of a certain Melon... Catch you Friday.

Power to the local dreamer.

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