Showing posts with label Bad History Month. Show all posts
Showing posts with label Bad History Month. Show all posts

May 8, 2014

Today's Hotness: Bad History Month, Darren Hayman

Bad History Month/Dust From 1,000 Yrs split cassette (detail)

>> The Gospel According To D. Boon posits an axis bridging the chasm between New Wave and The Truth, along which we reckon the lion's share of unremarkable rock and roll acts lies squarely in the middle. However, fans of Boston indie rock can be proud of the fact that the city is home to a small number of acts whose songwriting situates them directly on the dot representing pure Truth. Chief among these -- along with Clicky Clicky fave bugcore heroes Krill, it should be noted -- is Bad History Month, the present solo iteration of the visionary duo Fat History Month led by songwriter Jeff Meff. Bad History Month's deconstructed cow-punk expertly renders wholly engaging and artful songs that are heavy on quiet, shuddering revelation. The preview track to the band's forthcoming split EP, "Staring At My Hands," is a prime example of the breathtaking results Mr. Meff can achieve by creatively arranging deceptively minimal sonic elements (drums, guitars, piano, feedback, voice) around startlingly conscious musings on mortality and solitary existence. Lyrics like "nervous outside of a bar, focus on a single star until it disappears, reaching for the comfort of just how small things are" splays open the idea of our intrinsic alienation like a butterfly pinned to a mounting board. Mr. Meff, like Krill's Jonah Furman, seems to conjure songs and articulate ideas from directly within the listener's brain, which is a strange point to make, but it's the best way we can presently think of to describe just how real, pure and true his musical ideas are. "Staring At My Hands" is taken from the forthcoming Famous Cigarettes split EP, which contains 40 minutes of new music from Bad History Month and Dust From 1,000 Yrs and will be released by Exploding In Sound as a limited edition cassette and digital download June 10th. The split will also be issued as an LP Aug. 4 via Limited Appeal; the pressing is on "mystery color" vinyl and comes packaged with a Colorful Camel poster, which in our estimation doubles the potential copyright infringement liability associated with this release. Bad History Month plays an EP release show June 9 show at Charlie's Kitchen in Cambridge's Harvard Square, and then embarks on a massive, two-month nationwide tour that wraps on or around Aug. 5. The dates are all posted right here (scroll down); all of that seems so very far away, but just think of the fruitful hours ahead you have to ponder your own fragile mortality? Stream "Staring At My Hands" via the Soundcloud embed below, and then pre-order Famous Cigarettes in your format of choice right here. We last wrote about Bad History Month -- then Fat History Month -- here a year ago February.



>> It's been more than a decade since Darren Hayman fronted the popular UK indie pop concern Hefner, but that distinction still follows him around despite a thriving solo career that is already 10 albums deep. Another sort of notoriety is at the heart of Mr. Hayman's latest solo collection, the minimal experimental synthesizer opus Wembley Eiffel Tower. The album pays tribute to the quixotic 19th century innovator Sir Edward Watkin, an Englishman who -- among other things -- attempted to erect a tower that would rival Paris' Eiffel Tower while drawing people to London's Metropolitan train line. The construction of the edifice was ultimately a failure spectacular enough to attract both some amount of ridicule and the attention of Mr. Hayman, who dedicates his 47-and-a-half minute synth composition to "Watkin's Folly." The most interesting thing about Wembley Eiffel Tower is that it is, in effect, the sound of an analogue modular synthesizer playing itself. Hayman employed such electronic curiosities as a programmable scale generator and clock divider to instruct the machine how to behave given certain conditions; he then recorded the results uninterrupted to six tracks, applied some reverb and mixed them. The result is a peaceful but mildly sinister meditation that recalls the soundtracks of certain British television programming that made its way to American public broadcast networks during our youth (the one thing we can identify for certain is "Dr. Who," but we are sure there are many other programs that fit the bill). Whatever your reference point for it, Wembley Eiffel Tower's attraction is a persistent cool vibe that at one and the same time feels dreamy and functional. Wembley Eiffel Tower will be released by Glass Reservoir Monday in a limited edition of 100 compact discs with a handmade cover carved by Mr. Hayman as well as digital download; we just looked and the CDs sold out on pre-orders, so NO SOUP FOR YOU. But you can stream the entire recording via the Soundcloud embed below, and pre-order the download right here.



February 12, 2014

Review: Krill | Steve Hears Pile In Malden And Bursts Into Tears

Goddamn album title too long to fit on single headline. Motherfucker, that line just fit on a single line. Various publications stupidly parroting "failed concept album" talking point. This vs. "Ever tried. Ever failed. No matter. Try again. Fail again. Fail better." - S.B. Jonah Furman -- un/reliable narrator? [Would be interesting to good cop/bad cop entire band in separate interrogation rooms and see if the other cats agree to this "failure" bullshit. Should we call Furman on this?] Failure as a positive, as a measure of distance [integers greater than zero, yadda yadda. must listen to The Power Of Failing sometime soon. must not let people see me cry in car while listening to The Power Of Failing. beauty hurts more. subtweet], the metaphoric distance between the purity of the envisioned / hoped-for / anticipated and the reality, no matter how alabaster-white, tidy and well-executed that realized reality is. The idea in your head doesn't smell unless the idea is a smell. And even then it doesn't smell. [FUCK. Look for notes to PHIL 103/Bucknell University/Fall 1993] IMPORTANT: Can music fail anyone besides the person/group of persons whose intent it is supposed to express? Steve : Mouth :: "Failure" of philosophical exercise that is Steve : incredibly satisfying music for fans, underpinned by the kind of stark honesty of an internal monologue. Whose desires are more important? Steve : Mouth :: Furman's ideas : Fan's love of Krill's music [Q: ANALOGIES REVERSED? / should probably mention band name earlier in piece]. Intended unintended consequences oooh that's good. Save. Preview. Save. Preview. Save. Save.

Music as trojan horse, honesty as trojans. Honesty as trojan horse, sentiment freed from melodrama/irony as trojans. [Possible prophylactic endorsement deal?] Real emotional [trash] honesty true hallmark of Mr. Furman's lyrics/singing. Maybe not cool to acknowledge. As much as the trio's music is underpinned in part by Furman's deep thoughts about existence, it is not the academic piece of Krill that makes them so compelling, it's the emotion, so unmediated it is extraordinarily powerful, and the instrumentation is part and parcel of that. Music as trojan horse, music as trojans.

Pile story line superfluous, a red herring. Imposes a framework on projections of pure thought. [SUGAR PILL? or simply just a Krill-esque big ups/high five to Rick and posse] Perhaps music is also a red herring? Music as delivery device for honesty-with-self. Know thyself/beast within. Self-knowledge provides parameters [kinda like in literal/visceral/physical sense as well hahahaha], actual true framework, skeleton on which happiness can be hung like (too-)wet plaster. Refer to Furman's remarks in 2013 interview here. Quote. End quote.

More exposition here: The more we listen to Steve the more the narrative recedes, and the more we just hear the line from "Turd" over and over: "If I could just keep a commitment, maybe I'd be happier?" Fucking majestic guitar work in that song, closing section echoes the opening sturm und drang of the album, that interval between the notes in the guitar memory. That line over and over again. Great hook, but also The Big Idea? It's no secret that Krill fronter Jonah uses a song as a framework to weigh and test philosophical ideas. He sort of said as much in our interview with him. And given the particular area he has concerned himself with (self love), those lines just jump out.

Musical self-reference... The guitar in "Turd" echoes the low/high interval (a fifth?) of the pounding, pulsing opening track, a la Slack Motherfucker or Pedro The Lion's "Never Leave A Job Half Done." Pace is slower than opener. "Turd" is subterfuge, in the titular sense. Yeah, the title gets a laugh, but that is mere deflection from Furman's poking with a sharp stick his own (or, sure, his narrator's) inability to commit, to... what? Happiness? Self-love? Contentment. IMPORTANT: EVERY KRILL RECORD WILL FAIL, AT LEAST AS SOON AS RECORD BUTTON IS PUSHED. OR FIRST PLAYBACK? OR FOLDBACK TO HEADPHONES. FUCK. FIND MUSIC RECORDING AND SOUND DESIGN NOTES / WESLEYAN UNIVERSITY, RON KUIVALA (SP?) / FALL 1995

Steve Hears Pile In Malden And Bursts Into Tears will be released by Exploding In Sound Feb. 18 on black-and-white 10" flat vinyl circles with a spiral "groove" cut in both sides; it is also available for sale as a digital download. You can pre-order in either the physical or virtual formats via this link, where you may also purchase some pretty nifty and fashion-forward t-shirts. Krill plays a record release show for the EP at Great Scott in Boston Thursday, after which the trio mounts a five-week U.S. tour with avant pop operation Ava Luna. The tour touts so many dates that reading the list makes us tired. So let's not focus on that. The show Thursday at Great Scott includes sets from the aforementioned Ava Luna, as well as Kal Marks, Bad History Month and Fat Creeps.

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