"The sweat pours down and stings my eyes..." - Uniform Choice.
We arrived at the office this morning to find one of our top five hardcore records, Uniform Choice's Screaming For Change, awaiting us. With copies of the new Bob Mould and Sleater-Kinney joints also on hand thanks to The Monkey, we settled in for a long morning of listening. We'll talk about those latter two later this week. For now, just a bit about Uniform Choice.
Uniform Choice's record, despite being digitally mastered for the CD, now sounds thin at times, and singer Pat Dubar even a bit restrained. This is one of those situations where the record only pales by comparison because of all the music that has come since. But if you slap on headphones and crank it up you can start to feel the rock. This record was recorded, amazingly, 20 years ago. When we were listening to it in the late '80s and early '90s at ear-bleeding volumes, we considered it the pinnacle of heavy. The band, which evolved out of an earlier act called Unity, was one of the first to take of the Straight Edge mantle, and certainly deserves more acclaim, despite going kind of alternative on their follow-up. Feast your ears on "Once I Cry," track six from SFC. Interesting trivia: Dubar was a top-notch college baseball player and ended up getting drafted by the Brewers, supposedly.
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Chromewaves is the first to point out to us that the next Strokes record streets in August. And, like Mr. Chromewaves, it looks like we'll be missing the Dinosaur Jr. tour as well due to some family vacation. We saw so much of the late model Dinosaur in the '90s that we don't really feel much remorse blowing this off. The only alternatives for getting off an island and back to Boston in time for the show were just too cost prohibitive. Or we imagine they would be, if we had bothered to check.
GetLevitation has purportedly first-person (and we have no reason not to believe otherwise) tales from Bob Stinson's wedding and other marginalia about his life and times during and post-Replacements. By the time we got on board with the Replacements, Stinson was ousted from the band, or was just about to be. But by that time the mythology surrounding him was well developed. And while we can't point to a specific instance of his widely accepted guitar genius, we certainly listened hard and often to his playing as we were learning to play ourselves. Anyhoo, we are big Mats fans, but we don't really know about the insidery stuff like the things discussed in the GL post, so it was interesting.
We promised we wouldn't write about Coldplay again, at least for a while, but it is worth pointing out that the band is driving this dude at Scenestars crazy. We think the pressure is getting to people for some reason lately. Example #2: Stereolab is driving Splendid's George Zahora crazy.
That is all.
May 31, 2005
May 30, 2005
"You got a fake I.D. and somewhere else to be..." - All.
Some things we learned over the long weekend:
1. The Music.For-Robots comp is finally for sale at the influential blog's web site. No surprise there. However, we didn't know that they only did up 1,000 copies of the comp, so there may in fact be a need for you to go buy a copy sooner rather than later. Our favorite comps to date were all issued pre-Internet or at least pre-Internet commerce, so if those guys did up 1,000 units they probably still have 500 of them in their garages. But the M.F-R joint could move a little more rapidly, given their large readership.
2. If you haven't had a gander at Ryan Adams lately you are in for a surprise. He don't look like this no more. At least not as of his solid performance of "Let It Ride" from his new record Cold Roses last week on Letterman, which we offloaded from the TiVo into our brains late this afternoon. For the Letterman performance, which was pretty rocking and interested us very much in what this guy might be up to nowadays [UPDATE: You can snatch a very big file of hi-def video of the performance here for a likely very limited time], Adams' face was almost completely hidden under a mop of long, dirty hair, which only occasionally swung out of the way to show that Adams currently has a beard and eyeglasses. Guess he is going through a dirty phase or something. Here is some discussion of the appearance. Previously, we were only really interested in his song "Come Pick Me Up," but now we are intrigued.
3. An email from Revelation Records confirms that indeed Sammy from Judge/YOT/Side By Side played on the next two Limp Bizkit records. He is not a band member, so the story goes, but the intersection of these two worlds should give you a confused feeling for 10 minutes or so. At least that is what happened to us.
That is all.
Some things we learned over the long weekend:
1. The Music.For-Robots comp is finally for sale at the influential blog's web site. No surprise there. However, we didn't know that they only did up 1,000 copies of the comp, so there may in fact be a need for you to go buy a copy sooner rather than later. Our favorite comps to date were all issued pre-Internet or at least pre-Internet commerce, so if those guys did up 1,000 units they probably still have 500 of them in their garages. But the M.F-R joint could move a little more rapidly, given their large readership.
2. If you haven't had a gander at Ryan Adams lately you are in for a surprise. He don't look like this no more. At least not as of his solid performance of "Let It Ride" from his new record Cold Roses last week on Letterman, which we offloaded from the TiVo into our brains late this afternoon. For the Letterman performance, which was pretty rocking and interested us very much in what this guy might be up to nowadays [UPDATE: You can snatch a very big file of hi-def video of the performance here for a likely very limited time], Adams' face was almost completely hidden under a mop of long, dirty hair, which only occasionally swung out of the way to show that Adams currently has a beard and eyeglasses. Guess he is going through a dirty phase or something. Here is some discussion of the appearance. Previously, we were only really interested in his song "Come Pick Me Up," but now we are intrigued.
3. An email from Revelation Records confirms that indeed Sammy from Judge/YOT/Side By Side played on the next two Limp Bizkit records. He is not a band member, so the story goes, but the intersection of these two worlds should give you a confused feeling for 10 minutes or so. At least that is what happened to us.
That is all.
May 26, 2005
"I don't want to complain, but all I got is rain." - Small Factory.
While doing some research for our review of the forthcoming Lali Puna comp I Thought I Was Over That (cool album cover, hopefully there will be t-shirts), we came across a video for their song "Micronomic" at the band's web site. The site is in Flash, and frankly we aren't clever enough to know how to find direct links to any elements of a Flash site. So go there, navigate to the Photos/Downloads page, and click on the video. It's tres cool, and if you haven't heard the number, it is a hot one from their excellent record Faking The Books.
How about a song? It has been raining here in New England for quite a long while. So Small Factory's "Pretending It's Sunny" seems like a very obvious choice. Which it is. But it is also our favorite song off of the band's first full-length, I Do Not Love You. This tune graced many a mix tape in its day. We were equally as big a fan of Alex Kemp and Phoebe Summersqash's post-Small Factory band The Godrays, and often wonder what they've done musically since the release of the admittedly disappointing Godrays swan song, Well Composed Death Notice.
Stereogum points out that Coldplay's Chris Martin just wants Radiohead to love him back. Or something. Anyway, we promise to stop talking about Coldplay. We're really not big enough fans to even call ourselves fans.
Update: We'd like to say we weren't the tipster that inspired this item about Haywood at Philebrity. But that would be a lie. Our quip went something like "like a phoenix neck deep in ash…" but we guess they were feeling more Victorian and less Classical. We're not sure what all those random commas are doing in their blurb -- perhaps they should have just ran our email verbatim.
That is all.
While doing some research for our review of the forthcoming Lali Puna comp I Thought I Was Over That (cool album cover, hopefully there will be t-shirts), we came across a video for their song "Micronomic" at the band's web site. The site is in Flash, and frankly we aren't clever enough to know how to find direct links to any elements of a Flash site. So go there, navigate to the Photos/Downloads page, and click on the video. It's tres cool, and if you haven't heard the number, it is a hot one from their excellent record Faking The Books.
How about a song? It has been raining here in New England for quite a long while. So Small Factory's "Pretending It's Sunny" seems like a very obvious choice. Which it is. But it is also our favorite song off of the band's first full-length, I Do Not Love You. This tune graced many a mix tape in its day. We were equally as big a fan of Alex Kemp and Phoebe Summersqash's post-Small Factory band The Godrays, and often wonder what they've done musically since the release of the admittedly disappointing Godrays swan song, Well Composed Death Notice.
Stereogum points out that Coldplay's Chris Martin just wants Radiohead to love him back. Or something. Anyway, we promise to stop talking about Coldplay. We're really not big enough fans to even call ourselves fans.
Update: We'd like to say we weren't the tipster that inspired this item about Haywood at Philebrity. But that would be a lie. Our quip went something like "like a phoenix neck deep in ash…" but we guess they were feeling more Victorian and less Classical. We're not sure what all those random commas are doing in their blurb -- perhaps they should have just ran our email verbatim.
That is all.
May 25, 2005
"I'll take a shot in the foot that I intended for my arm." - Haywood.
Oh, happy day. Music.For-Robots finally delivers on a long-promised Haywood post, which features one excellent cut, "A Pair of Tragic Paper Kites," from the recent studio sessions the band did. Doooo check it out. We kind of miss the dominance of the falsetto line in the chorus that was in the demo version, and would really love if one of the choruses had a huge, gritty guitar in it like in the chorus of "Crosswords" [links to audio sample at band's web site]. But it is such a pleasure to hear the song fully fleshed out we don't care. Look for the cut "Mermaid" on the M.F-R comp that is available starting later this week.
According to our Haywoodiest Haywood source, the remaining NYC-based members of the band still plan to do some more tweaks on this latest posthumous material in the studio in July, but hopefully after that gets done we'll get our paws on the stuff. Also coming our way at some point will be a few Wendyfix videos. We'll try to post one if we can get a decent-sized and -quality Quicktime file.
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There is no news here, but if you can't get enough of Bob Mould being bummed that his record got pirated, Coolfer has a tidy summation. Unrelated but more interesting, the blog recycles a rumour that the Arcade Fire's new music publishing deal with EMI netted them an $850,000 advance. Hopefully that will recoup soon, before everyone goes nuts for Amusement Parks On Fire and forgets about the fire in the arcade altogether. Well, maybe not: Said The Gramophone has a b-side to the "Power Out" single.
Tim Bracy of Mendoza Line and Slow Dazzle wonders why he doesn't want to succeed. Funny.
Pet Peeve: We hate it when reviewers note they've never heard the band whose record they are reviewing before. Hellooooo, do your job and do the research. We usually just read this site for the news, but sometimes we can't help ourselves and click through to a review, and then our inner demonic editor takes over.
Splendid interviews the Hold Steady, too.
That is all.
Oh, happy day. Music.For-Robots finally delivers on a long-promised Haywood post, which features one excellent cut, "A Pair of Tragic Paper Kites," from the recent studio sessions the band did. Doooo check it out. We kind of miss the dominance of the falsetto line in the chorus that was in the demo version, and would really love if one of the choruses had a huge, gritty guitar in it like in the chorus of "Crosswords" [links to audio sample at band's web site]. But it is such a pleasure to hear the song fully fleshed out we don't care. Look for the cut "Mermaid" on the M.F-R comp that is available starting later this week.
According to our Haywoodiest Haywood source, the remaining NYC-based members of the band still plan to do some more tweaks on this latest posthumous material in the studio in July, but hopefully after that gets done we'll get our paws on the stuff. Also coming our way at some point will be a few Wendyfix videos. We'll try to post one if we can get a decent-sized and -quality Quicktime file.
-------------------------------------------------------
There is no news here, but if you can't get enough of Bob Mould being bummed that his record got pirated, Coolfer has a tidy summation. Unrelated but more interesting, the blog recycles a rumour that the Arcade Fire's new music publishing deal with EMI netted them an $850,000 advance. Hopefully that will recoup soon, before everyone goes nuts for Amusement Parks On Fire and forgets about the fire in the arcade altogether. Well, maybe not: Said The Gramophone has a b-side to the "Power Out" single.
Tim Bracy of Mendoza Line and Slow Dazzle wonders why he doesn't want to succeed. Funny.
Pet Peeve: We hate it when reviewers note they've never heard the band whose record they are reviewing before. Hellooooo, do your job and do the research. We usually just read this site for the news, but sometimes we can't help ourselves and click through to a review, and then our inner demonic editor takes over.
Splendid interviews the Hold Steady, too.
That is all.
May 24, 2005
"At least in dying you don't have to deal with new wave for a second time." - The Hold Steady.
We love the Hold Steady's latest record. If anything, it is amazing how they can write so many great songs about being wasted and high and searching for and finding salvation. If we end up with nothing to do on a rainy day soon we will make a list of all the places where people pass out or come to on Separation Sunday. That's rock and roll, we guess.
Beleive it or not this post will bring Clicky Clicky up over 33,000 words. Oh well, anything to not have to watch One Tree Hill, particularly with Jimmy Eat World over-emoting through entire show. Some changes are afoot here, as it seems the Junkmedia blog may get off the ground shortly, even before the site redesign that is also in the pipeline. Once that blog goes live, we guess about 99% of our efforts will be expended there. We'll point everyone over there when it all happens.
Coolfer bemoans how indie rock has become narrow and dull and too predictable. They base their assertion at least in part on recent experiences seeing Built To Spill and Death Cab, observing that the bands no longer move them the way they did some five years ago. While we agree a tiny fraction with Coolfer, we think that much of their problem lies in trying to get the rush of an up-and-coming act from an act that is five years beyond the time when they really had fire in their guts (we'd argue that BTS took a right turn away from indie pop 10 years ago after There's Nothing Wrong With Love that left us feeling a bit sad, and that five years ago BTS wasn't actually doing anything of interest then, and certainly not now, but we digress).
Anyhoo, Coolfer says the next trend over the horizon is Rawk (didn’t "rock" "return" when there was all the hype pushing the White Stripes/The Hives/That Australian Band Where One of Those Doods Went Crazy Or Something Who Supposedly Sounded Like Nirvana?), and names a few likely suspects to lead the music industry's assault.
Follow-up: just to briefly revisit our Coldplay discussion, EMI's quarterly financials were released and sales were down, as expected. We're always interested in digital sales, since we spent a couple years hounding the major labels for info about their online strategies back in the day. According to Marketwatch, "[d]igital sales at EMI Music rose more than 300% to 35.6 million pounds for the financial year, with digital sales now representing 2.2% of total revenues."
Finally, The Monkey digs the new S-K, and has even turned us onto it. Splendid's Jen Kelly thinks it's their worst joint to date. Speaking of reviews, here are two we wrote recently: The Books. Colleen.
That is all.
We love the Hold Steady's latest record. If anything, it is amazing how they can write so many great songs about being wasted and high and searching for and finding salvation. If we end up with nothing to do on a rainy day soon we will make a list of all the places where people pass out or come to on Separation Sunday. That's rock and roll, we guess.
Beleive it or not this post will bring Clicky Clicky up over 33,000 words. Oh well, anything to not have to watch One Tree Hill, particularly with Jimmy Eat World over-emoting through entire show. Some changes are afoot here, as it seems the Junkmedia blog may get off the ground shortly, even before the site redesign that is also in the pipeline. Once that blog goes live, we guess about 99% of our efforts will be expended there. We'll point everyone over there when it all happens.
Coolfer bemoans how indie rock has become narrow and dull and too predictable. They base their assertion at least in part on recent experiences seeing Built To Spill and Death Cab, observing that the bands no longer move them the way they did some five years ago. While we agree a tiny fraction with Coolfer, we think that much of their problem lies in trying to get the rush of an up-and-coming act from an act that is five years beyond the time when they really had fire in their guts (we'd argue that BTS took a right turn away from indie pop 10 years ago after There's Nothing Wrong With Love that left us feeling a bit sad, and that five years ago BTS wasn't actually doing anything of interest then, and certainly not now, but we digress).
Anyhoo, Coolfer says the next trend over the horizon is Rawk (didn’t "rock" "return" when there was all the hype pushing the White Stripes/The Hives/That Australian Band Where One of Those Doods Went Crazy Or Something Who Supposedly Sounded Like Nirvana?), and names a few likely suspects to lead the music industry's assault.
Follow-up: just to briefly revisit our Coldplay discussion, EMI's quarterly financials were released and sales were down, as expected. We're always interested in digital sales, since we spent a couple years hounding the major labels for info about their online strategies back in the day. According to Marketwatch, "[d]igital sales at EMI Music rose more than 300% to 35.6 million pounds for the financial year, with digital sales now representing 2.2% of total revenues."
Finally, The Monkey digs the new S-K, and has even turned us onto it. Splendid's Jen Kelly thinks it's their worst joint to date. Speaking of reviews, here are two we wrote recently: The Books. Colleen.
That is all.
May 23, 2005
"She's an indie rocker, and nothing's gonna stop her." - Archers of Loaf.
We've greatly enjoyed some time spent recently listening to the unmastered mixes of Shannon Worrell's The Moviegoer, which Mr. Mystical Beast was kind enough to send our way. Hearing different mixes of some of your favorite music is really mind-blowing, we think. We've had the good fortune to have various versions of Haywood and Kam Fong and Lilys material, for example, and often times hearing a different mix is like being able to take both hands and grab the song from between our ears, and then turn it just so and put it back down like a floral arrangement.
Anyway, we are hearing a lot of interesting ambient stuff on the Worrell recordings, as well as string parts that were excised in the final mixes and more prominent acoustic guitar playing and on and on and on. And holy crap, the accordion on "Movie Star Mom," where the hell did that come from? Why didn't it survive the final mixdown? That's just the kind of stuff we love. Moving on...
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There may or may not be a shake-up in The Cure's line-up going down, according to chatter at ILM. We don't see how this makes a difference. What would make a difference is if we all hopped in a time machine and went back two decades so we could see the band perform in its prime. When the band was touring in support of Disintegration our Mom put the kibosh on us attending the show, so it wasn't until the Wish tour that we got to see them (in a strange week during which, to the best of our recollection, we also saw the Grateful Dead, the Beastie Boys and Nitzer Ebb).
Bob's pissed. Rightfully so. But we wonder how many people who downloaded some or all of the record actually held on to it. We listened to the track posted at Flizznuxblizznog, which is apparently one of the most guitar-centric cuts, and we weren't feeling it too much. We heart Bob, but we have a hard time suppressing the desire for guitary goodness that his earlier bands offered.
Here's a hot one from the New York Times: there are people out there making music WITH COMPUTERS!!
That is all.
We've greatly enjoyed some time spent recently listening to the unmastered mixes of Shannon Worrell's The Moviegoer, which Mr. Mystical Beast was kind enough to send our way. Hearing different mixes of some of your favorite music is really mind-blowing, we think. We've had the good fortune to have various versions of Haywood and Kam Fong and Lilys material, for example, and often times hearing a different mix is like being able to take both hands and grab the song from between our ears, and then turn it just so and put it back down like a floral arrangement.
Anyway, we are hearing a lot of interesting ambient stuff on the Worrell recordings, as well as string parts that were excised in the final mixes and more prominent acoustic guitar playing and on and on and on. And holy crap, the accordion on "Movie Star Mom," where the hell did that come from? Why didn't it survive the final mixdown? That's just the kind of stuff we love. Moving on...
-----------------------------------------------
There may or may not be a shake-up in The Cure's line-up going down, according to chatter at ILM. We don't see how this makes a difference. What would make a difference is if we all hopped in a time machine and went back two decades so we could see the band perform in its prime. When the band was touring in support of Disintegration our Mom put the kibosh on us attending the show, so it wasn't until the Wish tour that we got to see them (in a strange week during which, to the best of our recollection, we also saw the Grateful Dead, the Beastie Boys and Nitzer Ebb).
Bob's pissed. Rightfully so. But we wonder how many people who downloaded some or all of the record actually held on to it. We listened to the track posted at Flizznuxblizznog, which is apparently one of the most guitar-centric cuts, and we weren't feeling it too much. We heart Bob, but we have a hard time suppressing the desire for guitary goodness that his earlier bands offered.
Here's a hot one from the New York Times: there are people out there making music WITH COMPUTERS!!
That is all.
May 22, 2005
"You were talking loud enough so that only you could hear." - The Red and The Black.
TMT thinks outside the box a bit and points out something very interesting: Radiohead are currently without a recording contract, apparently, opening up the prospect that the band could self-release any forthcoming recordings or jump to a different label. Sort of makes that story about how EMI is really sweating the success of the latest Coldplay joint (saying that it will make or break their earnings for the year) seem a little more credible.
Earlier this year EMI's debt rating was cut to junk status, in part because the Coldplay record was delayed. Anyway, we enjoyed Coldplay's impassioned performance on SNL last night. They played their single "Speed of Sound" in the first slot (Stereogum mentions the performance and has a link for the audio -- get it while it lasts), which rocked pretty steadfastly. So it seems EMI may actually have hitched their wagon to the right horse. The band has always been a bit too restrained for our tastes, but we've liked all their singles and enjoyed listening to their first two records via Rhapsody back when we had our free press subscription (good times).
Something else that might boost sales of the new record: there is some buzz online that the new record will feature unspecified anti-ripping technology. Story is that the promo single for "Speed of Sound" didn't feature the tech, which is why the music from that disc can be found. This supposed anti-ripping tech is probably just the same old Suncomm shizzy from a few years ago. But we suspect, if there is truth to any of this, there will be more chatter about it in coming weeks.
-------------------------------------------------------------
This weekend we watched Eddie and the Cruisers. When we were 10 we thought this movie was the tops. Now it seems pretty bad on a lot of levels, particularly structurally. Also, the band in the movie does a pretty bad job of pretending to play and sing. Interestingly, the music really is the strongest thing going for the flick. Not that Michael Pare, Tom Berenger, Ellen Barkin, Joey Pants and David Silver's father from 90210 can't hold it down. But there was only so much they could do with that script. Too bad, 'cause the story is actually pretty good.
Switching gears: a song to kick off the week. This started off being a post about All About Chad and their song "Embarrassing Moments," and how there is more than one version available, and how we prefer the one on Jiffy Boy Records' Ten Cent Fix compilation. But then we went to the CD rack and came up with Chunk Records' Hotel Massachusetts comp, which we referenced in our prior post. Specifically, we reference some crucial cuts. One of these was a tune called "Sunday" by a band called Home. We don't know what else, if anything, that Home has released. Googling "Home" does not yield useful results. Based on the strength of the song we made a point to show up to see the band at the Loud Music Festival in Northampton, MA in 1995, where they were playing on a showcase, if memory serves, that also included Craig Jones' Sydra. Anyhoo, Home's set was very reminiscent of the type of stuff Karl Hendricks Trio was doing at the time: heavy, emotional indie rock. Which contrasted pretty heavily with the breezy but resigned pop of "Sunday." Anyway, it's Sunday night, so that makes this post a bit appropriate. This is the kind of tune you'll be singing to yourself for a couple days.
That is all.
TMT thinks outside the box a bit and points out something very interesting: Radiohead are currently without a recording contract, apparently, opening up the prospect that the band could self-release any forthcoming recordings or jump to a different label. Sort of makes that story about how EMI is really sweating the success of the latest Coldplay joint (saying that it will make or break their earnings for the year) seem a little more credible.
Earlier this year EMI's debt rating was cut to junk status, in part because the Coldplay record was delayed. Anyway, we enjoyed Coldplay's impassioned performance on SNL last night. They played their single "Speed of Sound" in the first slot (Stereogum mentions the performance and has a link for the audio -- get it while it lasts), which rocked pretty steadfastly. So it seems EMI may actually have hitched their wagon to the right horse. The band has always been a bit too restrained for our tastes, but we've liked all their singles and enjoyed listening to their first two records via Rhapsody back when we had our free press subscription (good times).
Something else that might boost sales of the new record: there is some buzz online that the new record will feature unspecified anti-ripping technology. Story is that the promo single for "Speed of Sound" didn't feature the tech, which is why the music from that disc can be found. This supposed anti-ripping tech is probably just the same old Suncomm shizzy from a few years ago. But we suspect, if there is truth to any of this, there will be more chatter about it in coming weeks.
-------------------------------------------------------------
This weekend we watched Eddie and the Cruisers. When we were 10 we thought this movie was the tops. Now it seems pretty bad on a lot of levels, particularly structurally. Also, the band in the movie does a pretty bad job of pretending to play and sing. Interestingly, the music really is the strongest thing going for the flick. Not that Michael Pare, Tom Berenger, Ellen Barkin, Joey Pants and David Silver's father from 90210 can't hold it down. But there was only so much they could do with that script. Too bad, 'cause the story is actually pretty good.
Switching gears: a song to kick off the week. This started off being a post about All About Chad and their song "Embarrassing Moments," and how there is more than one version available, and how we prefer the one on Jiffy Boy Records' Ten Cent Fix compilation. But then we went to the CD rack and came up with Chunk Records' Hotel Massachusetts comp, which we referenced in our prior post. Specifically, we reference some crucial cuts. One of these was a tune called "Sunday" by a band called Home. We don't know what else, if anything, that Home has released. Googling "Home" does not yield useful results. Based on the strength of the song we made a point to show up to see the band at the Loud Music Festival in Northampton, MA in 1995, where they were playing on a showcase, if memory serves, that also included Craig Jones' Sydra. Anyhoo, Home's set was very reminiscent of the type of stuff Karl Hendricks Trio was doing at the time: heavy, emotional indie rock. Which contrasted pretty heavily with the breezy but resigned pop of "Sunday." Anyway, it's Sunday night, so that makes this post a bit appropriate. This is the kind of tune you'll be singing to yourself for a couple days.
That is all.
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