Archive for 2004

Walking Through Town Is Quite Scary And Not Very Sensible Either

Depeche Mode “Clean (Colder Version)” – I’m sure that most of you will understand that I’m barely in the state of mind to do this today. I’ve been seething with rage since around 11 PM. Still, if you want to get a feel for where I’m at right now, this song just about nails it. The jackboot beat, the feeling of dread and impotence. The subdued panic, the gut sickness. The static and noise of the media scraping at the walls of my skull, keeping me from concentrating on anything else. (Click here to buy it from Amazon. Click here to see Colder perform live in NYC tonight.)

Kaiser Chiefs “I Predict A Riot” – Well, I do. The fix is in, and we’re all being backed into a corner. Either we go down fighting, or we retreat into smaller and smaller cultural bubbles to hide from reality and keep ourselves from engaging with the people who keep George W. Bush in power. I’m ashamed to say it, but I probably won’t ever stop doing the latter, though I know this situation will never change unless we kill the destructive memes that are propping up this administration. (Click here to buy it from Rough Trade.)

Let’s Get It Right This Time

Sylvie Marks & Hal9000 “Blütenspass” – And now it is the time on Sprockets when we dance. I would really like to write something clever and/or insightful about this song, but no matter how many times I listen to it, I’ve got nothing. I adore the recurring synth-horn motif (scan up to 2:14), but I don’t know what to say about it other than “oooh, pretty sound.” That’s all I’ve got, folks. Oooooooh, pretty German sounds. (Click here to buy it from Bpitch Control.)

Brooks “A Little Bit Of Time” – Set against a galloping, thumping electronic beat, the slow, mournful vocals in this song create the illusion that the music is in fact much slower than it actually is. It’s a peculiar song, perhaps best described as a sort of house music dirge. (Click here to buy it from Juno.)

Sorry about the half-assed writing today – I’m very distracted by today’s election, and these are both examples of good songs that aren’t easy for me to write about.

Note to Fiery Furnaces fans: The show at Maxwell’s on Sunday was alright, but they were clearly quite tired and drunk and put on a mediocre show in comparison to previous New York gigs. The setlist and first encore were identical to that of the recent Bowery Ballroom show, but there was a Matt-and-Eleanor-only second encore which included a reprise of “Evergreen” with Matt on the Rhodes piano, a duet reading of “We Got Back The Plague” (also played on the Rhodes), and the regular slow guitar version of “Rub Alcohol Blues.” It was a treat to hear them play those last three songs slowly after rushing through the first 40 minutes of the show. I hope that in the future they allow themselves to take their time and play up the nuances of their songs rather than simply packing in as many as possible in under an hour. Though I definitely enjoy the hyperactive medley approach, it is probably time for them to start displaying a different side of themselves and their music in live performance.

Maliciously Musical Mopods and Mollyfocks

Eddie Hazel “What About It?” – I never fail to be disappointed when some rag or another publishes some tired-ass list of Greatest Guit-artists Like, Ever Man. There’s no suspense — some Jim or another always gets the top slot — and they usually prioritize virtuoso technique over a knack for catchiness (Eddie VH wasn’t great just ’cause he weedy-deedly-whammelled, he was great because he wrote the best simplified riffs this side of “Louie Louie”). Blah blah etcetera, you probably know these arguments already. And odds are you don’t care much. (No big deal — ain’t too many Strats on Discovery or Miss E… So Addictive anyways.) But dammit people, recognize: there is only one way to extrapolate what Hendrix would’ve done if he hadn’t mixed vino and insomnia back in ’70, and that is to listen to the one guitarist the VH-1ists always, always overlook: Eddie Hazel*. In a Mothership where pretty much every member was one of the Best Somethings Ever — especially when it came to laying down rhythms — it’s almost understandable that Eddie might get lost in the shuffle: true geeks know how deadly his solos on “Alice In My Fantasies” and “Super Stupid” were, but history recalls the P-Funk as an R&B band, and that same history says that R&B doesn’t live and die by who can churn out the baddest riffs; guitars that wail like that are for rock bands, dude. (Hey, ever notice that Curtis Mayfield usually ain’t high up on these lists, either? Guess they need space for John Frusciante.) Enough hectoring. Sorry. Anyhow, Rhino reissued Hazel’s long-out-of-print ’77 Warner Brothers solo record Game, Dames and Guitar Thangs — and considering that it’s pretty much a Funkadelic record in all but name (the lineup includes Bootsy Collins, Bernie Worrell, Tiki Fulwood, Mike Hampton, Garry Shider, Billy “Bass” Nelson, a couple Brides of Funkenstein and Clinton lurking in the wings somewhere), the fact that it’s taken forever to be reissued — and even then, in a limited-edition 5000-press run — is one of the more inexplicable mysteries in record label ass-dragging. As lost classics go it’s slightly less solid than you’d expect from the personnel involved at that point in time, but since it’s a guitarist’s solo record as opposed to a showcase-for-everyone group effort, it’d be kind of naive to expect a “Flash Light”-caliber burner instead of something subtler like, for instance, the most beautiful cover of “California Dreamin'” ever. And a good handful of slow-seethe psych-funk hump-conducive ballads. And effects pedals. Damn, the effects pedals.

And, most of all, the rare event of Hazel trading riffs with Kidd Funkadelic. Around ’75 Hazel quit the P-Funk and became a Motown session guitarist. Shortly afterwards, he got fucked up on dust, went all Nightmare-at-20,000-Feet Twilight Zone style (“there’s a creature on the wing of the plane”, that Shatner role, you know the one), bit a flight attendant (!) and wound up in a two-year prison stint. Meanwhile, his place in the P-Funk Mob was eventually filled by a teenage Mike Hampton, who eventually became so entrenched in the role that he began strumming Hazel’s play-it-like-your-mama-died signature tune “Maggot Brain” during live shows. So when Hazel got released from Lompoc in ’77 and rejoined his former bandmates to record Guitar Thangs, there was the inevitability that sooner or later he’d have to meet up with his replacement. There was never much word as to whether or not the two guitarists got along well. The title of the song they collaborated on, “What About It?”, has a confrontational tinge to it, one that only gets more prominent when you hear how dirty the beat is: one of the best P-Funk breaks to appear on a record without the name “Parliament” or “Funkadelic” on the actual spine, it adds an unspoken “motherfucker” to the end of the question and brings tremors so heavy it’s almost easy to overlook the keening, high-pitched riffs, the calls of a seagull flying over Sturgis. Most of the song’s dominated by this keep-disco-evil groove, a brief minimalist Hazel solo (done twice) and the intertwined free-fall chords notwithstanding — it’s a song mostly built on the intricacies of the guitar as a rhythm instrument, and Hazel doesn’t even break out the real wailing until the three-minute mark of a three-and-three-quarter-minute song. It’s worth the wait. As a contrast of styles between Hazel and Hampton, it’s not a big success: the guitars weave in and out from between each others’ empty spaces, meshing tight and proving inseparable. But it proves that a P-Funk with both guitarists involved could’ve been even more out there than the group already was in the late ’70s. We’re talking potential 20-minute version of “(Not Just) Knee Deep”, maybe. And if you want to take sides and have someone get the last laugh, if there is one: on the original record’s back cover, the second guitar’s credited to “Mie [sic] Hampton”. All hail Smeero.

*while Rolling Stone and Mojo both nominated him on their 100 Greatest Guitarists lists, both publications accompanied their blurbs with pictures of… Garry Shider. Way to go.

(Click here to buy it from Amazon.)

Nate Patrin is a freelance writer who has appeared in the pages of Spin, Seattle Weekly, Stereo-type, and the City Pages.

Wearing That Gorilla Suit

Man Man “Against The Peruvian Monster” – I imagine that if Neil Haggerty were to make a children’s record, it would sound a bit like this. I love the way that the elegant string theme is ditched after the intro and replaced with the chorus of out-of-tune kids, and how the high pitched keyboards are just faintly audible underneath the lo-fi swamp boogie stomp. (Click here to buy it from Ace Fu.)

Viva Voce “Business Casual” – Reader poll: Does this song sound more like a) Slint’s “Good Morning, Captain,” reimagined by Kevin Shields, or b) “Else” by Built To Spill tipped over and played sideways? Answers on a postcard. (This is the annoying, oblique way of me saying that I really love the bassline in this song.) (Click here to buy it from Minty Fresh.)

Also: Over the summer, Fluxblog was mentioned in a “Hot 100” list in Blender magazine. If anyone has a copy of that issue (it had Dave Chappelle on the cover) and can send me a scan of the page in question, I would really appreciate it.

And: Does anyone need an extra ticket for the Fiery Furnaces/Hidden Cameras show at Maxwell’s on Sunday night? If so, send me an email and I’ll help you out.

What The Folks Don’t Know I’m Telling You

Jennifer Gentle “I Do Dream You” – Jennifer Gentle is not a solo artist, but rather a duo of treble loving, Syd Barrett worshipping neopsychedelic Italian men. Ideally, a video for this song would include a homage to A Hard Day’s Night in which the band are chased through the streets by a mob of adorable, colorful animated hug monsters. (Click here to visit the official Jennifer Gentle site.)

Akira The Don “Akira The Don’s Drinking Song” – I’m not sure whether this sounds more like the British version of Eminem or MC Paul Barman. Though some of his cadences and overstuffed meters remind me of Barman, Akira is clearly following the Slim Shady template – for every goofy number, there must be an angry, dour dirge for balance. This song is like the rough UK equivalent of “Drug Ballad” from The Marshall Mathers LP, but it is followed up on the ep with “One Bullet,” an anti-Bush rant so venomous that “Mosh” seems rather tame in comparison. (Click here to buy it from Juno.)

Elsewhere: The Rub is back!

I Think I’m Seeing Double

Louis XIV “God Killed The Queen” – There is no doubt in my mind that this song was created primarily to get drunken rock girls dancing in the front row. It certainly feels like drunken dancing to me – it’s all movement, and no grace. The song has a great propulsive quality to it, but the dynamics shift at slightly awkward intervals as if to let the listener regain balance or catch their breath. (Click here to buy it from Stolen Transmission.)

Play Paul “Love Song” – There is a slightly dorky quality to the singer’s voice that I find kinda endearing in the context of a house/r&b song. He’s not quite slick enough to totally pull off some of the more overtly sexual lyrics, but his genuine enthusiasm is far more engaging and appealing than the detached sexbot vocals that are so typical these days. (Click here to buy it from Juno.)

Stimulate The Open Chords

Pavement “Raft” – For me, this song will always be tied up in memories of stupid teenage crushes. In a lot of ways, the song still conjures up those old feelings of cautious optimism and awkward enthusiasm, but it’s difficult to hear some of the lyrics without thinking of how I interpreted them when I was 15. “You’re an ocean of honey/painfully funny” still sounds like a lovely compliment to me, but “you’re mesmerizing/stop criticizing me” no longer feels like an ideal romantic scenario. I want to blame growing up in the early 90s for my teenage romanticization of screwed up relationships, but I know that it was mostly just a lot of low expectations and poor self-esteem on my part.

Fun fact: This is the single version of the song – the version on the new Crooked Rain, Crooked Rain reissue cuts off the intro. (Click here to buy it from Matador.)

The Child Who Was A Keyhole “Shortwave” – When I hear this song, I imagine that the band all have open-mouthed grins and are playing to an audience of highly enthusiastic furries. This is hardcore twee, best suited to people who feel that Tullycraft are too macho for them. This band ought to consider doing a public access children’s show, or at very least hitting a few pre-schools and day care centers on their next tour. (Click here to buy it from The Child Who Was A Keyhole.)

Also: R.I.P., John Peel. He was an inspiration.

And: Laces has posted an incredibly beautiful cover of Mary J. Blige’s “Deep Inside” recorded by Cat Power in a Peel session to honor the memory of John Peel.

There You Are, Here I Am

The Beautiful People “Want You To Want Me” – I have a major weakness for homemade stadium rock. Part of the appeal is in the implication of a huge sound using decidedly low tech production values. In this case, the percussion sounds suspiciously like a busted garage door and the guitars sound as though they are being played in a room somewhere down the street from the closet where the lead singer is yowling away earnestly. That might sound like a joke, but this song most certainly isn’t – in spite of the band’s obvious limitations, this is a rather beautiful and affecting song. There’s a certain desperation to this recording that serves the song well. It sounds like the band are trying to get across a feeling much bigger than they can possibly communicate, which is actually the most perfect way to express the lyrical content of the song. (Click here to visit The Beautiful People official site.)

Frausdots “Soft Light” – This is like the slick Hollywood version of the The Beautiful People song. Instead of awkward emotional naturalism, this song is all about the grand romantic sweep of perfect moments that barely feel real even when they actually happen. It’s the kind of song that feels like the soundtrack to a life far more dramatic and glamorous than the mundane existence that the most of us live. One day, you might for a moment feel just like the chorus of this song, and you’ll be able to play it on your iPod immediately afterwards so that you can relive the feeling while at the same time distancing yourself from it. (Click here to buy it from Sub Pop.)

Crazy Over The Loving

Jacques Lu Cont featuring Ce’cile and General Degree “Na Na Na Na” – So once again, I must ask – how is it that Ce’cile is not huge in America? This is yet more proof that there is no meritocracy in pop music, because in a just world this would be Ce’cile’s third hit in 2004 alone (see also: “Rude Bwoy Thug Life,” “Hot Like We.”) The track sounds like something that the Neptunes would come up with if they were limited only to equipment found on an old submarine. Seriously, this is so minimal that it makes “Drop It Like It’s Hot” seem like a Meatloaf record. (Click here to buy it from Amazon UK.)

Freeform Five “Electromagnetic” – At first, I thought that this song was pure sleaze, but I realized recently that I totally misunderstood what was going on in the lyrics. At face value, a lot of the lines in this would sound creepy coming from a stranger, but that’s not the scenario at all. This is, in fact, a very honest dialogue between two people about their sexual dynamic. There’s a lot of confidence and bravado on display here, but just as much uncertainty and doubt. They seem somewhat certain about their physical communication, but they aren’t sure of what the other is thinking. They can make educated guesses, but when it comes down to it, they don’t know what each other means. (Click here to buy it from Amazon UK.)

You Don’t Look Like No Goddamn Singer-Songwriter To Me

Mouse On Mars “Wipe That Sound (Mark E. Smith vocal mix)” – For those of you familiar with Mark E. Smith and the original version of the Mouse On Mars song: Yeah, it’s pretty much MES doing his thing over a less busy version of the MOM instrumental. For those of you who aren’t: It’s a bit like having a weird old guy trying to tell you an incoherant anecdote at a loud, crowded dance club.

Futon “Gay Boy” – I absolutely adore how gleeful this song sounds. It seems to exist primarily to mischieviously push people’s buttons, whether they are gay or straight, male or female. The fact that this is catchy beyond belief and openly steals hooks from “My Sharona” and “Heroes” only adds to its bratty, smirking charm. (Joe is absolutely correct, it is like an improved version of Franz Ferdinand’s “Michael” from the future!) (Click here to attempt to buy it from Vox Pop Records.)

I’m Something You Only Imagine To Be

Electrocute “Tales of Ordinary Sadness” – This selection from Electrocute’s forthcoming Troublesome Bubblegum finds the band sounding a little less electroclash and a lot more garage punk. It doesn’t feel like bandwagon jumping though, and even if it was, it wouldn’t matter – this song blows away most of the current competition. This is an old fashioned kiss-off song, but it is coated with enough pop sugar so that it’s the fun kind of bitterness, rather than just another angst-ridden jagged little pill.

The Chap “(I Am) Oozing Emotion” – If that Electrocute song is “the fun kind of bitterness,” then this is “the fun kind of manic anxiety.” This is what my life feels like lately – frantic, exciting, totally lacking in patience. All I want is for things to happen. Right now. I’m sick of waiting. I have been waiting for so long. I am oozing with emotion. Just give me a contract. Give me a sign. Give me a fucking steady job already. (Click here to buy it from Sonumu.)

They’re Swallowing Me Whole

The Silures “21 Ghosts (Part One)” – I’ve found that the best way to enjoy this song is to think of the lyrics about demonic possession as being a submissive fantasy – being taken over by a corrupting influence, having your will stripped away, losing control entirely. It can’t be any mistake that this song sounds as sexy and menacing as it does, with its harsh textures and intensifying beats dominating the listener as the ghosts sieze control of the narrator. By the time the beats start pounding at the 2:50 mark, you just have to give in. (Click here to buy it from NuLoop.)

Nimbus Coleman “Who Is The Governess?” – I’m not certain if I’ve ever heard a record quite like Nimbus Coleman’s. In terms of structure, it recalls Guided By Voices’ Alien Lanes – many short songs which mostly sound incomplete on their own, but flow together cohesively as an album. That’s where the GBV similarities end, though. Coleman favors very crisp production and clean sounds, and much of the album has a lazy, easy going island sound tweaked by strange song structures and unexpected stylistic tangents. Imagine the world’s strangest island cruise bossanova band, and you’re halfway there. “Who Is The Governess?” opens the album with an opening twenty seconds which comes as close to sounding like Loveless-era My Bloody Valentine as anything I’ve ever heard, but then settles into a soothing bass-and-bongos groove with pleasantly oooooh-ing vocals. (Click here to buy it from Nimbus Coleman.)

You’ll Never Be Discovered

Smoosh “Massive Cure” – I’ve become so accustomed to hearing adults attempt to sound like children that it’s a pleasant surprise to hear a duo of preteen girls make music that sounds more mature and confident than the efforts of most adults. This isn’t just good for people their age, this is good, full stop. Nevertheless, the age factor is impressive – Chloe is a remarkable drummer for someone who is only ten years old, and Asya’s singing voice is a bit like a less excessive Tori Amos. (Click here to buy it from Pattern 25.)

Scala Choir “I Touch Myself” – With a simple piano arrangement and a chorus of teenage girls, the Scala Choir rescue this old Divinyls song from the realm of kitsch by performing it with a heart melting earnestness which evokes the intense, heady rush of young love. (Click here to buy it from Amazon.)

Everybody Singing Along

United State Of Electronica “IT IS ON!” – Ideally, if one were to make sheet music for the USE, every note would be punctuated by at least three or four exclamation points. I was lucky enough to see the band perform twice over the past three days, and as a result, I’ve made the transition from being a casual fan to a devoted fanatic. USE is the most enthusiastic band that I’ve ever seen. When they play live, it seems as though there is no other music on Earth that they love more than the songs in their set. They are relentlessly upbeat, and are intensely focused on a single goal: to make every person in the room dance and have fun. They achieve this with amazing efficiency while still coming off as being loose, spontaneous, and silly. USE are a unique phenomenon, an unlikely fusion of twee indie pop and Daft Punk/Avalanches-style dance music which probably shouldn’t work, but does thanks to the band’s total, unironic commitment and abundance of instantly loveable songs. (Click here to buy it from Sonic Boom Records.)

Fox & Wolf “Youth Alcoholic” – As a service to the new readers coming to Fluxblog this week as a result of the SPIN article, Alex Balk’s NY Times Playlist, and the CMJ panel, I’m going to be posting some Classic Fluxblog songs over the next two weeks in addition to newer material. When I originally posted Fox & Wolf’s “Youth Alcoholic,” the readership of this blog was about one third of what it is now, so I’m sure that this will be new to the majority of you. It’s definitely one of my favorite songs to ever be featured on the site, and I think that in a lot of ways, it’s a good example of the kind of music that I’ve been trying to promote here over the past two years – catchy, upbeat, slightly weird pop music which ought to be huge, but goes almost entirely unheard in the United States due to the insular tastes of the indie rock world and the near total indifference of the mainstream media. I want to live in a world where a song like “Youth Alcoholic” is at very least a modest cult hit rather than a hopeless obscurity from an unknown duo from Sweden who may never tour outside of Scandinavia. (Click here to visit Fox & Wolf’s website.)

A! E! I! O! YEAAAAAAHHHH!!!!!!

First off, don’t say hair-metal, say pop-metal. You can’t hear somebody’s follicles, you CAN hear a band’s willingness to write in a catchy, accessible, inclusive and immediate fashion while maintaing the sonic aesthetic of their subculture. Here’s two fine examples of the genre that I’ve chosen mainly because I get to reference bands that indie folks are prone to respect (or at least openly enjoy).

If you can’t handle the gratitous guitar squeals and the hypersexual, effeminate “ooh ooh” vocal hook found on Warrant’s “32 Pennies,” odds are you’ll never have much love for the scene. But anybody who gets off on the psychedelic lyricism of Love’s Arthur Lee (who used to live in bottles and pretend that they were cans) should adore Jani Lane’s wordplay here. He dances with his shadow but lets his shadow lead. 32 pennies in a Ragu jar is all he’s got to his name, but he loves her and she loves him (but to the pennies, it’s all the same). If you dig this track, definitely check out their debut album Dirty Rotten Filthy Stinking Rich (recently re-mastered and burdened with crappy liner notes that should have been written by Metal Mike Saunders of the Angry Samoans). It’s by far the finest pop-metal album I’ve heard: lyrically witty, playful yet sentimental and always unabashedly foxy. “32 Pennies” isn’t the best track on the album, it’s just the opening salvo – a gregarious ornament on the hood of their flashy ride. (Click here to buy it from Amazon.)

Kix’s later albums, while enjoyable, blatantly aped the template created by the success of Def Leppard’s Pyromania. Their first two releases, Kix and Cool Kids, released in ’81 and ’83, are far less obvious beasts. Major influences on Poison, these guys danced between the AOR-side of new wave (Cheap Trick, the Ramones and the Cars) and more openly hard-rock/metal influences like AC/DC, Sweet and Kiss. In a sense, they’re the missing link between these respected ’70s giants and the underrated hairfarmers that followed: a synthesis that had yet to be sold as a specific niche.

“Yeah Yeah Yeah,” the finale of their self-titled debut, opens with a riff that might have been from R.E.M.’s Chronic Town (except that EP came out a year later) before suddenly zooming into a musical territory the Georgia quartet could never pull off as authoritatively (check out their b-side “Burning Hell” for proof). The first three minutes are enough to make the band a worthier similacrum of Bon Scott-era AC/DC than the Brian Johnston-led real deal. Then singer Steve Whiteman blows the competition away by whipping out an Elmer Fudd impersonation and launching into a sexually frustrated monologue to the cheers and hollers of an enthusiastic audience (“A big bottle of Jack Daniels, not the little one, the BIG one! And I ALWAYS carry a stash…cuz you never know!”). I’d suggest Karen O and the boys make it their theme song, but I’m not sure they could maintain the giddy, energy level for so long. All the more proof that people who write this shit off are missing out. (Click here to buy it from Amazon.)

Rip Taylor “The Real Rip Taylor” – With the help of Jim O’Brien, “The World’s Funniest Rock Star” (whose repetoire includes “Crack In My Ass” and “I Read It In The Weekly World News”), Rip Taylor, comedy megastar and Fluxblog icon, has finally shot down all the fake-ass Rip Taylors that have crawled out of the woodwork following his rise to fame. The inexplicable acid-rock backdrop makes the track oddly reminiscent of the Kroon Along With Krusty version of “Break On Through.” Laugh! It’s funny! (Click here to buy it at Rip Taylor’s official site.)

Anthony Miccio is freelancer who has written for Blender, The Village Voice, and Stylus.

Take Me Away, Take My Soul

Acen/Aurora/Krome & Time/Terrorize/Psychotropic: “SL2 Megamix” – The early ’90s L.A. dance label Moonshine has long been maligned by post-rave purists, but I’m not one of them. Their early ’90s compilation CDs are a crucial part of my listening DNA; like no other record label, they introduced acres of American mall rats to techno and its offshoots, and the Speed Limit 140 BPM Plus series, which lasted eight volumes before it was buried (there was an abortive attempt to revive it in 2001), constitute one of the greatest compilations ever made, particularly volumes one and three. I was, needless to say, one of those mall rats; when Moonshine came around, I was going to high school and working as, yep, a hologram salesman at the Mall of America, which was right across the street from my family’s apartment. (My mother still lives in the same complex.)

Hit the Decks Volume 1 (subtitle: “Techno DJs Take Control”) was released in 1993, the year I graduated high school; I bought it along with every other Moonshine title that came out at the time at the non-Sam Goody record store whose name I’m forgetting on the first floor. (They had an amazing selection for a mall chain store–nearly every SST title, lots of other punk and alternative stuff, and pretty much every rave compilation there was at the time.) At the time, I was also taping Kevin Cole’s Radio Depth Probe program, which aired midnight on Saturdays, off of the local modern rock station; he mostly played house and techno, with a healthy smattering of industrial and occasional noise and hip-hop tracks. (I have long harbored the fantasy of starting a label to reissue those shows on CD.) One of the tracks he was playing a lot of during my 1992-3 senior year was Terrorize’s “Feel the Rhythm,” which features a convulsive morse-code piano riff, piledriver breakbeats, and a wailing diva who can barely keep in key: “I feel the rhythm in my soul/Whoa-oh-oh-oooh/I let the rhythm take control/Hey-ay-ay-ay/So won’t you take me away/Take my soul.” In other words, it sounds like every other breakbeat hardcore track of the period, which means it sounds like one of the greatest records ever made: immediate, ridiculous, awe-kissed. The thing is, I’ve almost never seen the thing mentioned anywhere. Partly, that’s because I haven’t exactly made a serious manhunt for it, I suspect because I like having the memory of hearing it supercede the experience of playing it anytime I want; partly, no one seems to have noticed it as anything special. And maybe it wasn’t. But Simon Reynolds’ Generation Ecstasy/Energy Flash discography doesn’t mention it, and the only place I’ve ever seen it compiled is on Hit the Decks (there never was a Volume 2), which features six “Megamix”es averaging seven individual tracks and seven minutes apiece. “Feel the Rhythm” figures into half of these mixes, by Two Little Boys, Carl Cox, and SL2. (The other three are by Megabass, Unity, and Krome & Time.) None of them use it for more than the chorus; it appears for less than 30 seconds per mix, and Two Little Boys and Cox use it more thoroughly than SL2. But SL2’s is the best overall mix, featuring Acen’s “Trip II the Moon,” Aurora’s “Spectral Bass,” Krome & Time’s “This Is the Sound for the Underground,” and Psychotropic’s “Hypnosis.” (Click here here to buy Hit the Decks Volume 1 from Amazon.)

May Irwin: “The Bully” – I haven’t checked this with Perpetua yet, but I’m fairly confident this is the oldest song ever posted on Fluxblog. According to the Allen Lowe-compiled 9CD box, American Pop: An Audio History, from which I got this song, there are two possible recording dates for it: either May 20, 1907, or February 1909 (no specific date). It’s a ballad, a story song, and it’s certainly jauntier than the parlor-room ballads of the period, so maybe it’s a cakewalk; I’m a little iffy when it comes to discerning early 20th century musical styles. And oh yeah–it’s an extraordinarily violent revenge tale sung from the vantage of, and I quote, “a Tennessee nigger,” by a white woman who, in all, drops the N-bomb nine times in three minutes. I’d facetiously call this the first gangsta rap record if it weren’t so many other things, not least a glimpse into real live as it existed minstrelsy, and a record that can still startle you nearly a century after it was made. (Click here to buy American Pop: An Audio History from Amazon.)

Michaelangelo Matos is the music editor for Seattle Weekly. He recently completed a book about Prince’s Sign O’ The Times album for the The 33 1/3 Series.

Here Comes Love Forever

Scritti Politti “Jacques Derrida” – R.I.P. Jacques Derrida. Fear not, you won’t need to know anything about literary theory or deconstruction to enjoy this song. Like most everything in the Scritti Politti catalog, this song is as slick and poppy as it is literate and brainy. The song concludes with a somewhat cheesy rap by Green Gartside which includes what I believe to be the best usage of the word “rapacious” in the history of pop music. (Click here to buy it from Amazon.)

LiLiPUT “Might Is Right” – Here is another old family favorite. This song was one of my staples back when I still made a lot of mix tapes and cds. I almost always sequenced it after the Silver Apples’ “Program” and immediately before Royal Trux’s “Back To School,” so now whenever it ends I expect to hear Neil Haggerty’s spacey guitar. “Might Is Right” has a distinct nostalgic quality to it which brings to mind vague images of the countryside and sense memories of things I’m not even sure that I’ve ever experienced first hand. (Click here to buy it from Amazon.)

Emotions, Books, Outlooks On Life

Sonic Youth @ Irving Plaza 10/13/2004

I Love You Golden Blue/Stones/Pattern Recognition/Unmade Bed/Skip Tracer/White Cross/Mariah Carey/New Hampshire/Paper Cup Exit/Drunken Butterfly//Expressway To Yr Skull

This was just a good Sonic Youth show, nothing particularly amazing, but fine enough. I’ve seen SY enough now that they need to really be on fire to knock me out(Webster Hall ’04, Central Park ’02). I wish that they had played at least one song that I hadn’t seen before, but I certainly can’t complain about “Skip Tracer,” “White Cross,” and “Expressway.” But c’mon, please, just one show without “Drunken Butterfly”! Please!

Gang Gang Dance were like the most incomprehensible glam goth band in the world. If I was going to make a Star Wars movie, I’d have them supply the music for an alien band.

Saul Williams was very impressive and charismatic. He played a tight, quick set with his band which was well received by the audience, though it was kinda weird to see an extremely white crowd respond when he shouted “where are my niggaz?” in “African People.” “Grippo” was excellent – the Chrome sample was played live on viola and violin.

The Moving Units were awful. It was like Rapture with all the catchy bits removed. No thank you.

The Head Set were mediocre, but had a few somewhat catchy songs at the end of their set. Someone needs to tell them that they’d be better off if they weren’t going so far out of their way to ape The Strokes and The Walkmen. That singer guy needs to stop with that affectation, right away. Playing less trad rock arrangements should be the next step after that.

I Thought You’d Fallen Off The Edge Of The World

Kylie Minogue “I Believe In You” – This is the long-awaited Kylie/Scissor Sisters collaboration. It’s not quite what I was expecting (I was anticipating something much more flamboyant with vocals by Jake Shears), but it’s excellent nonetheless. This is Kylie at her most elegant: a swooning disco ballad augmented by mellow synths and simple, understated strings. (Click here to pre-order it from Amazon UK.)

Cosmetique “Lady Di, Why Did You Have To Die?” – I acquired this rare, out-of-print circa-2000 promo 7″ thanks to Anfunny, my #1 tipster. This song was never commercially released, probably because they couldn’t get the sample clearance for Laura Brannigan’s “Gloria,” which is the basis for this track. As you can imagine, this isn’t the most tasteful song in the world – the lyrics are mostly salacious tabloid speculation, and the backing track is somewhat crude and overly filtered. Nevertheless, this song is very fun and strangely compelling.

And speaking of things which are strangely compelling…

David Boyle “George W. Pussy” – This was sent to me just the other day by Mr. Boyle, who included a note along with the mp3. This could very well be the strangest song that I post all year. He explains:

In late August, I recorded a rap song called “George W. Pussy”, a copy of which I’m attaching to this mail in MP3 form, and lyrics pasted in below. No, there’re no obscenities in it really, just some “meowing” sound effects off the keyboard, etc., so there’ll be no FCC problems. I borrow the riff from “Super Freak” (R.I.P. Rick James; I went to his 8/14 funeral service in Buffalo NY, touched his hand). There may even be subtle Sex Pistols references worked in…I wonder if the song or a video of it could even influence the 2004 election; there’s no really memorable “Bush stinks” music out there, so that “George W. Pussy” could be the “Fahrenheit 9/11” of music (or even the “October surprise”?!)…..there’s even the Rick James nostalgia factor, believe it or not! Use of the “Super Freak” hook made a #1 hit for M.C. Hammer, and “George W. Pussy” is far more controversial/ hypertopical than “U Can’t Touch This”, so should be able to do even better….. Though I’ve no distributor or promoter yet, so am looking around. I’m already working on storyboarding for the video, much of which involves Bush running around in a flight suit with the word “AWOL”, “W” much bigger than the rest of the letters because he’s “W” himself, on his chest, as he’s running away and crying. I think that should get the message across pretty clearly, since people have to graphically be shown the truth: the truth that Bush is America’s biggest sissy, the Coward-in-Chief.

(Click here to visit David Boyle’s website.)

Champagne And A Chocolate Ice Cream Cake

Cristina “Mamma Mia” – Cristina Monet was the product of an extraordinarily glamorous lifestyle – a beautiful, Harvard-educated rich girl who made the scene in New York, London, and Paris in the late 70s and early 80s. She was the girlfriend and eventual wife of Ze Records owner Michael Zilkha, who released her two albums and a handful of singles on his label between 1980 and 1984. “Mamma Mia” is a selection from her self-titled debut, which has now been retroactively retitled Doll In The Box as a cd reissue. The record is a campy, cabaret-flavored disco masterpiece, produced and written primarily by August “Kid Creole” Darnell, who would go on to become Ze’s house producer. I can’t recommend Doll In The Box highly enough; it’s by far one of the best albums that I’ve heard in months. It’s the sort of record which maintains an unusually high level of quality from start to finish and is not even slightly diminished by the addition of bonus tracks from period singles, such as her distinctive versions of Peggy Lee’s “Is That All There Is?” and The Beatles’ “Drive My Car.” (The latter of which can be downloaded from this Cristina website.)

Cristina “What’s A Girl To Do?” – On her second and final album Sleep It Off, Cristina left disco and Kid Creole behind to make a punky new wave album with Don Was. Unlike the first record, Cristina wrote the majority of the lyrics for Sleep It Off, resulting in an album of wry, ironic, self-deprecating songs about upscale decadence and jetset sleaze set to Was’ bouncey new wave pop. Fans of Ladytron might recognize “What’s A Girl To Do” from their recent mix compilation Softcore Jukebox, though for some reason I did not, which is sort of amazing given how immediately memorable this song is. (Click here to buy Doll In The Box and/or Sleep It Off from the Ze Records Shop.)

Elsewhere: Kylie fans ought to check out Enthusiastic But Mediocre, which has her latest single “Giving You Up” available as an mp3 for a limited time. This song is the obligatory new single on her newest greatest hits collection, and will probably not be released in the United States, so snap it up now unless you’re eager to pay through the nose for the import.

Contest Winners!

Thanks to everyone who sent in answers to the survey. Since I might not be able to do all of the math necessary to make sense of the results until next week, you can feel free to send in top ten lists to fluxblog @ gmail.com if you haven’t already, but the contest is over. I will contact the winners via email for mailing addresses, etc.

The winners are:

Remote #4: Scott Arthur

Sumosonic 29: Chris Clark

Sumosonic 28: Heather Young

Maxi Geil & Playcolt: Caroline McKusick

It’s Almost Too Much

Kiki “So Easy To Forget” – Video treatment: As the song begins, the screen is all black, save for little glimmers of light which blink in time with the high pitched keyboard sounds. As the keyboard washes enter the mix, we see more lights, and the visuals gradually become busier as the camera pulls back. When the vocals come in, we see that what we’ve really been looking at is city lights outside the window of a moving car. We watch the passenger watch the city glide by his window. (Click here to buy it from Bpitch Control.)

Racine “Grease Monkey” – This song is all simmering intensity and barely restrained lust without release – so obviously, it’s pretty hot. I appreciate that the lyrics are somewhat timid – it’s all about anticipation and waiting for the other person to make their move. (Click here to buy it from Amazon UK.)

Also: I’m going to keep the polling open through Monday morning. I’ll announce the winners in Monday’s entry.

Elsewhere: I am quoted in an article in today’s issue of the Christian Science Monitor about marketing music on the internet. The article also includes a quote from Largehearted Boy proprietor David Gutowski.