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5/13/04

Give A Little Kick With Your Fine Thigh High

Ce’Cile “Hot Like We” – When does Ce’Cile get to have her hit? This is her second amazing single this year (the first one was based on the Cure riddim, this one is built on the Red Alert riddim) – something has got to give. There’s no reason for this not to be huge. Sean Paul’s singles aren’t even half as catchy as this AND he’s kind of an ugly guy and he’s able to have huge pop crossover hits. Surely there must be some major label out there that can push Ce’Cile over the top! It’s only (divine) right. (Click here to buy it.)

Metric “Wet Blanket” – I’ve been into this song for a while now, but I kept forgetting about it, even on a few days when I was having difficulty figuring out what to post on this blog. Keith Harris wrote a bit about Metric the other day, which prompted me to reinvestigate their album and read some of their press, and I’m very glad about that. This is certainly a case in which getting a better idea of the personality and intentions of the artist enhances my enjoyment of the material. From what I’ve read thus far, I quite like Emily Haines as a pop character. She’s very dynamic, she has a great sense of style, and I like what she has to say. If all of pop worked as an American Idol-style democracy, I’d vote for her. I think that we all could use a good post-indie (indie as aesthetic ideology) indie (indie as genre, circa mid-90s) pop star right about now. (Buy it directly from the band.)

Elsewhere: Lost Bands Of The New Wave Era is another brand new mp3 blog whose mission statement is to showcase “great bands that never made it – but should have.”

Elsewhere, Part 2: Radio Babylon is doing the MP3 blog thing too, with an emphasis on electronic pop.

Also: If you would like to hear the twelve minute “director’s cut” of the On The Media “MP3J” story, you can download an MP3 or listen to an audio stream of it on this site.

5/12/04

Every Song I Dance To Is Magic

Kelley Polar Quartet “The Rhythm Touch” – Best known for his work with Morgan Geist and Metro Area, Kelley Polar is a master of symphonic disco who grew up as a child prodigy in Croatia and went on to be expelled from Julliard following a riot that broke out at his Master’s Recital. “The Rhythm Touch” is an instant-classic of its subgenre, with its gorgeous string and vocal melodies floating above a memorable electro bassline and midtempo house backbeat. The arrangement feels at once airy and ethereal, as well as sensuous and physical. (Click here to buy the single directly from the label.)

Blood On The Wall “On My Mouth” – The songs on Blood On The Wall’s debut album are divided up between a male singer and a female singer. I like a number of groups with multiple singers, but I’ve never come across a band in which the difference between the two frontpeople was so stark and dramatic that it seemed as though two totally unrelated bands were sharing space on one record.

The male singer, Brad Shanks, focuses on frenetic, wild rock tunes, and sings as though he’s Ad Rock from the Beastie Boys doing a Neil Haggerty impression. His songs aren’t particularly good, and at his worst, I just want to shut him up. The female singer, Courtney Shanks (his sister, not his wife) specializes in songs with very spare arrangements built around a rumbling low bassline. She sounds woozy and dazed every time she’s on mic. Since I spent my formative years listening to Sonic Youth, whispery drug girl vocals + low bass rumble = incredibly hott and sexy to me. I can’t help but to love her songs on the record. Start your own band, Courtney! (Buy it directly from the label.)

Elsewhere: The Lusitania is another new MP3 blog with some pretty well-written non-MP3 content thrown in for good measure.

Also: WFMU’s Kenny G will be broadcasting the entirety of last week’s Friends finale on his show today. The episode will be digitally stretched out to fill Kenny’s three hour time slot. If you’re curious, or want to inflict a special kind of torture upon your colleagues in the neighboring cubicles, you can check it out streaming live on the internet starting at 3 PM. An archive of the program will be available tomorrow.

5/11/04

Pink Bubblegum Snapping In My Ear

A.C. Newman “The Town Halo” – This is taken from The Slow Wonder, which is essentially a solo album for Carl Newman, if you (quite reasonably) think of The New Pornographers as being his main gig in spite of that band’s “supergroup” origins. The Slow Wonder is a pretty accurate title for the record – most of the record is low key, and even the catchiest tunes from this set seem like “growers” compared to the bright and shiny joycore pop of Newman’s New Pornographers compositions. There isn’t anything on the record which I dislike, but on some of the quieter numbers I find myself wondering if I’d even bother giving the song a second listen if it wasn’t by the guy who wrote “The Laws Have Changed” and “It’s Only Divine Right.”

I’m not sure if “mellow strum-pop” is the right mode for Newman – it’s a little like seeing an attractive friend wear an outfit that doesn’t flatter their looks. You just want to take them aside and say “no, no honey, that top is all wrong for you!” Newman is at his best when he’s piling multiple hooks on top of an up-tempo track, and though he does indulge in this on a few of the songs (“The Town Halo,” “Secretarial”) The Slow Wonder generally comes off as being reduced-hook New Pornographers Lite. (Buy it directly from the label.)

Mixel Pixel “Pink Shirts” – Built on a bed of simple drum machine presets and lit only by the lcd glow of cheap keyboards, this song glides along with a grace which belies its modest DIY construction. Whereas lesser indie groups play up the obsolescence of 80s keyboards for cheap kitsch, Mixel Pixel clearly works hard to get the best sound from their equipment, as if to prove that good pop can still be made on this chintzy old gear. The semi-goth/New Romantic vocals doesn’t hurt, either. (Buy it directly from the artist.)

5/10/04

Knowing Makes Me Scared, But I’m Not Sure Why

Mathémathiques Modernes “Disco Rough” – This is a breathtaking bit of streamlined French new wave/”cold wave” circa 1981 from the French/American Celluloid label. Stereolab fans may note a striking similarity to the song “Emperor Tomato Ketchup,” which I am sure is not at all accidental given Stereolab’s history of rampant, tasteful appropriation.

Judys “Mental Obsession” – This is a lovely, minimal, guitar-free ode to some amazing dude that the singer doesn’t just want to get to know better, but also emulate completely. This song is taken from the Houston band’s 1981 LP Washarama.

Also: For those of you who may be interested, I did go to see the Clinic show on Saturday night, but I didn’t see Clinic because they were going on very late, and I would’ve risked missing the last train out of Manhattan if I were to stick around. It’s probably for the best that I left early anyway – I wasn’t feeling well at all, and my stamina was already starting to fade when the first opening act hit the stage. According to my friend who stayed and watched the show, I really didn’t miss anything special (just a pretty typical Clinic show with more or less the same setlist that they’ve been playing for two or three years now), so that’s good to know.

Elsewhere: Word In The Alleys is another new mp3 blog. They are primarily focused on Pitchfork-y indie fare at the moment, but they seem like nice lads and have a pleasant way with words. I appreciate that while a lot of people are just starting to get excited about the new Wilco album, they went and posted songs from the last one. You zig, they zag.

5/7/04

We Are The Last Teenagers

Clinic “Kimberley” (live at WFMU) – Right now I am trying to figure out whether or not I should see Clinic at Southpaw in Brooklyn tomorrow evening. I have a ticket, but I have a few good reasons for sitting this out. For one, I’ve developed an aggravating chest cold which has reduced me to a hoarse-voiced phlegm machine. I am not sure when this show will be over (though it can’t be too late, since it seems that Clinic absolutely refuse to play sets any longer than 40 minutes), and so I do not know if I will be able to catch the last train home, and I have not set up a place to stay if I were to be stranded overnight. I really would prefer not to stay at someone else’s place, because I very rarely sleep well when I do. Clinic will be performing a lot of new material from their forthcoming Winchester Cathedral LP, which is both a good and a bad thing – I’m very curious to hear the new stuff, but I generally can’t get into hearing unfamiliar songs played live. It’s just not as fun for me. I’m on the fence right now. Talk me into it/out of it, folks. The power is in your hands.

Shampoo “Viva La Megababes” – I’m a bit amazed that I’ve never posted a Shampoo song on this blog before today. Shampoo were a duo of teenage girls from England who scored a series of cheesy, glossy, sassy teen pop hits in the UK and Japan in the mid-90s. “Viva La Megababes” is the apotheosis of their aesthetic; a mix of flamboyant self-aggrandizement (“we’re blonde haired teenage terminators!”) and bratty put-downs (“hippy chicks are sad and supermodels suck!”) set to hyperpop candy rock. It should hardly come as a surprise that Shampoo are among the all-time top selling pop acts in Japanese history.

5/6/04

Sex Cryptics, Freak Mystics

Scala Choir “I Touch Myself” – I can barely contain my enthusiasm for this song! I hadn’t seriously thought about this Divinyls tune in years, especially since the original has become a kitsh touchstone, but this recording by a choir of teenage girls from Belgium is a revelation. I had no idea how amazing this song was, but then I don’t think that the original presented the melody and lyrical content with as much grace and emotion as this version. Something about this arrangement sweeps me up in the sentiment every time I hear it, and my heart just melts whenever I hear them sing the line “a fool could see how much I adore you.” This recording captures the incredible, irrational rush of intense young love perfectly, perhaps moreso than anything that I’ve ever heard. The Scala Choir have covered a wide range of contemporary pop songs (including “Bittersweet Symphony,” “With Or Without You,” “Every Breath You Take,” “Under The Bridge,” “Exit Music (For A Film),” “Can’t Get You Out Of My Head,” and “Smells Like Teen Spirit”) to great effect, but nothing comes close to this. This is a truly special recording. (Click here to buy it.)

Gene Serene “Electric Dreams” – I’m very enthusiastic about this one too. Though it’s not quite as intense as the Scala Choir song, this is a pretty ecstatic tune in its own right. As it stands right now, this is my favorite electropop song thus far in 2004. Sometimes I can feel like Goldilocks sorting through bowls of porridge when I’m going through dance pop singles, but this song is just right. This is taken from Gene Serene‘s debut EP Electric Dreams, which is just about to be released in the UK.

Elsewhere: Phonequail presents The Weeping Mule, a series of longform audio collages compiling a wide range of found audio and music samples. The first in the series centers on the autistic, and the second includes historic station ids and audblog entries. A new collage including recordings of conference calls is forthcoming.

5/5/04

I Can’t Hear What You Are Saying, I Can Only Fear

Fugazi “Suggestion” (Live in Fredericton, New Brunswick, Canada 7/24/98) – This is taken from Volume 19 of the Fugazi Live CD Series, which I received in the mail earlier this week. I’m not sure how happy I am with the show that I purchased – it’s a pretty great concert and all, but I really think that they should have made some effort to master these things before selling them. They certainly weren’t kidding around when they say on the site that they didn’t alter the source tapes at all. The levels are all over the place throughout the show, and there are some major mixing blunders. On a few tracks, the guitars are way too loud in the mix, drowning out the vocals and percussion, and during the performance of one of my favorite songs, “Target,” the treble suddenly shoots up and the bottom end almost completely drops out at the start of the first verse. I’m wondering if all of the discs in this series have similarly erratic sound, or if I ordered a show with more quirks than others.

This version of “Suggestion” is a highlight from this show, though it’s probably a highlight from just about any concert in which it is performed. I don’t think that Guy’s vocals during the conclusion of the song were meant to be so high in the mix, but I like the sound of it being foregrounded as Ian’s voice recedes to the background as he moves away from his microphone and sings from the audience.

Stripsearch w/ Emily XYZ “Hey Kid!” – This is a selection from the Hyped 2 Death Homework series of compilations, which collect obscure American D.I.Y. 45s from the late 70’s through the mid-80’s. “Hey Kid!” is by far one of my favorite songs from this series; a perky art-punk number by a pick-up band from No Wave-era 1982 NYC including performance artist Emily XYZ on this song, and GG Allin on their only other single. Both songs appear on the Homework Vol. 1 cd.

5/4/04

Everyone With Neon Laces

Citi “Can You Do It On Skates?” – This song asks some very important questions: Can you do it on skates? Will do it with me…on skates? I’ll be honest with you; I’m not sure if I have the kind of grace and balance necessary to pull off something like that. I’d probably just slip up and fall flat on my face. It might be worth the effort to try, though, since this song makes doing it on skates sound like the BEST THING EVER. This is taken from Citi’s first and only release, 1979’s Roller Disco.

Hockey Night “R.E.B.E.L. System” – In a vague way, this song continues today’s roller disco theme, if just for a stray lyric during this tune’s white-guy-rap section. This is a peculiar number – the aforementioned rap part is pretty brief, and is surrounded by a series of silly samples which sound as though the guy was desperately trying to work in every weird children’s record in his DJ crate. The keyboard sounds during the rap section are pretty great, and I really wish that I could just have that bit on its own as an instrumental. I can appreciate this song’s awkward charm, but this may be a bit too cutesy and twee for a lot of you.

Elsewhere: The newest issue of WFMU’s Blast Of Hot Hair online newsletter includes the debut of a new monthly feature – obscure MP3s selected by WFMU staffers. Be sure to check out the selections by Rev. Arturo Skinner and The Chevrolet Singers (yeah, that Chevrolet!), as well as a complete performance of “Rock N’ Roll Dreams’ll Come Through” by Barry Dworkin of The Gas Station Dogs taken from Scharpling & Wurster’s New Hope For The Ape-Eared.

Also: Please note that the new email address is perpetua @ gmail.com, and that I am phasing out the old hotmail account.

And: This week’s issue of the Onion AV Club includes an interview with Jon Wurster about the Best Show On WFMU! There’s not much revealed in the interview that wasn’t already said in the interviews that I did with Jon, Tom, and Andy a while back, but it’s a nice piece, and it’s wonderful to see them get some serious coverage in a widely read publication.

5/3/04

Erotica Exotica McDonalds

Bingo Gazingo “Oh Madonna (You Stole My Pants)” – This is taken from one of my acquisitions from this past weekend’s WFMU record fair. The Bingo Gazingo cd was produced by several current and former WFMU DJs, including the wildly prolific musician R. Stevie Moore. Together, they accompany Mr. Gazingo, a ranting elderly gentleman with an unlikely obsession with 90s pop culture. “Oh Madonna (You Stole My Pants)” is the album’s disco number, and features a lusty and surreal ode to Ms. Ciccone by Gazingo which contains some highly quotable one-liners and couplets. This disco tune is so leftfield that’s it’s just beyond the bleachers and out in the parking lot.

Seelenluft “Manila (Ewan Pearson remix)” – This is Ewan Pearson’s electro-funk mix of the Swiss DJ Seelenluft’s collaboration with a 12 year old rapper from Compton named Michael Smith. Smith’s vocals are pretty interesting – he’s at that age when boys can sound slightly androgynous, which lends itself well to this style of music, which doesn’t always mesh well with overly masculine performances. Also, the youthful exuberance in his voice makes the lyrics about dancing in a crashing aircraft sound slightly less morbid, though at the same time a bit creepier.

Elsewhere: Never Came Home is another brand new MP3 blog, and features some links to others which I was not aware of, such as Listen Closer, Canto Do Leo, and Royal Music.

4/30/04

It’s More Fun To Do It As I Do

Rhythm King & Her Friends “Get Paid” – I love how this song, from the beats and bassline on up to the vocals, feels so self-possessed and confident to the point of seeming a bit intimidating. The lyrics are about a woman alienated by her job who chooses to sabotage her workplace rather than quit – she loads viruses onto computers, dresses down for clients, and generally acts like a bastard on the company’s dime. I’m sure that many of you will find it to be quite inspiring.

Morningwood “Take Off Your Clothes” – This sounds like “Smells Like Teen Spirit” reduced down to its rumbling bassline (just try singing “hello, hello, hello, how low” over it! It’s not exactly the same, but it may as well be), and reimagined as a song about frantic lust without release. The guitar is fairly minimal throughout the track, but there are some really nicely done whammy-barred lead lines, especially around the one minute mark after the girl sings “let’s see what goes down.” This is taken from the NYC band’s forthcoming 12″ It’s Tits.

Also: The biannual WFMU Record Fair at the Metropolitan Pavillion in Manhattan begins today and will be going strong through Sunday evening. If you’re in the area, please come by and check it out – it’s arguably the best record fair in the world, with an awe-inspiring selection of rare and obscure records, vintage vinyl, memorabilia, and assorted goodies sold by top-notch dealers from all over the globe.

And: There will be a story about mp3 blogging including interviews with myself and Sean from Said The Gramophone on this weekend’s episode of NPR’s On The Media. Check their website for show times, but be aware that they will have realaudio and mp3 archives of the episode available on the site through the end of next week.

4/29/04

A Psychic Told Me I’m Gonna Die

Heloise and the Savoir-Faire Dancers “Odyle” – One may understandably have low expections for the original music of an electroclash dance troupe, but Heloise’s buoyant dance pop is fine enough to transcend the group’s central gimmick. Don’t get me wrong – I find their dance routines (which you watch on their website) charming and cute, but it wouldn’t be half as good if songs like “Odyle” weren’t worth dancing to in the first place.

Futon “Gay Boy” – Oh, how I love novelty dance-rock hybrids. This one is just irresistable – “My Sharona” riffs, cute boy/girl vocals, an interpolation of David Bowie’s “Heroes,” snarky lyrics. It’s like early Bis all over again! (I realize that this is a nightmare for some of you, but that’s because you’re being very borecore.) This is from the Anglo/Thai group’s debut record Nevermind The Botox.

Elsewhere: Thank Me For The Music is brand new mp3 blog focusing on European pop. Nice stuff, very promising.

4/28/04

Really Gonna Run Amok

Sugar Pie DeSanto “Go Go Power” – This is unquestionably one of my all-time favorite soul floor-fillers. It’s an ode to dancing and partying straight through the night, and is perfect music for doing just that. The song is a real mover, but DeSanto’s passionate, frenzied vocals push the whole thing over the top. Classic!

Detroit Emeralds “You’re Getting A Little Too Smart” – And here’s another great soul classic, dating back to 1973. “You’re Getting A Little Too Smart” features one of my favorite basslines ever along with some excellent horn stabs and subtle, understated orchestration. There’s a lot of soul music from the 70s which gets a bit too heavy-handed with the horns and strings, but a lot of the greatness of this cut comes from how spare the arrangement is throughout most of the song.

Elsewhere: Please welcome Moistworks and No Frontin’, Just Music to our big, happy mp3 blogging family.

4/27/04

Hey everybody! Something is wrong with Blogger, and it is reversing the order of the posts on the front page. Until this gets sorted out, please scroll down to the bottom for the newest entries.

I’m Pushing Sorrow Away From My Life

Loto “So Happy Together” – No, this isn’t a cover of the Turtles classic. Loto are a trio from Portugal who specialize in 80s-flavored dance pop, but this song, with its sunny, laid-back pool-side sound is a slight deviation from their regular formula. Like most of the best chart pop from the 80s, “So Happy Together” draws heavily on 60s soul and r+b influences, and as a result sounds much more melodically rich and dynamic than the rest of their material. This song, along with a few others on their new LP The Club hint at a potential that they may be just about ready to grow into, but for right now, they’ve got a pretty hot single that’s just waiting to break.

Snowden “Kill The Power” – Hats off to Snowden, for pulling off about five or six different “oh man, what song is that from?” indie-rock moves in this four-minute song without seeming dull or overly derivative. There’s a nice driving, physical sensation to this song, mostly due to some particularly strong Steve Shelley-esque drumming and the good compositional sense to build the song’s dynamics around that percussion part. As with Loto, Snowden’s debut doesn’t sound like a fully-formed band, but this song (along with a fantastic cover of the Zombies “Time Of The Season” available on their website) proves that they have the chops and songwriting skills to eventually evolve into something far greater.

4/26/04

We’ve Got To Make A Better Day

Komeda “Blossom (Got To Get It Out)” – Depending on where you are in this world, this is taken from either a record which has been out for a year (hello, Europe!) or one which is being released next week (what’s up, America?). Fans of the Powerpuff Girls may remember this tune from the excellent Powerpuff Girls: Heroes And Villains compilation from a few years back, though this is a newly recorded version of the song. It captures the joyful, lighthearted spirit of the series rather well – it’s basically a surf rock tune about superheroes with a chanted chorus sung by people with Swedish accents. It’s great fun. The rest of Komeda’s Kokomemedada is pretty strong too, particularly “Victory Lane” and “Out From The Rain,” but “Blossom” is the obvious single and will fill indie dance floors everywhere.

Miss Frenchie “I’m Yur Rock Man” – After hearing Miss Frenchie‘s excellent “Fuck Em Boyo” mash-up from the London Booted compilation, I soulseeked up everything I could find by her, and came up with a rather nice set of bootlegs. “I’m Yur Rock Man” is definitely my favorite, though I can’t find much about it online. It was apparently hosted by the currently defunct Bastard-Pop.De.Vu site, but that’s as much information as I have. There’s a possibility that this may be incorrectly labelled, but this seems like Miss Frenchie’s aesthetic. This mix is easily the best usage of a George Michael/Wham vocal in a mash-up that I’ve ever heard, but it raises the question: Why aren’t more people tweaking his stuff?

4/23/04

If That Ain’t Love, Then Tell Me What Is

Loretta Lynn with Jack White “Portland, Oregon” – I want to shake Jack White’s hand and pat him on the back for writing this song, which is undoubtedly the newest instant classic in his catalog. This is his greatest guitar performance on record to date – there’s a sense of space and cinematic grandeur that comes off sounding so effortless on this song, particularly in the instrumental opening section. I doubt that Jack would see it this way, but he’s managed to fuse the aesthetics of Joshua Tree-era The Edge with the blues riffing of Led Zeppelin, which is a pretty astonishing thing given that they are two of the world’s most iconic bands and to my knowledge no one has ever come close to meeting the two halfway. If White keeps this up and translates it to his live act, then there is a strong chance that The White Stripes will become the most unstoppable stadium-rocking force of this decade. Kudos to White for saving this song for Loretta Lynn’s comeback album – I can’t imagine anyone else singing this song with as much authority, passion, and flair.

(Note: I’ve just learned that this is a Lynn song, arranged by White. I have no liner notes, so I made a guess. No matter who wrote what, this is a major achievement for the both of them.)

Barbara Morgenstern “Kleiner Auschnitt” – I assure you that it is only coincidental that I’ve posted so much German music lately. Of all of the German music that I’ve posted in recent weeks, this is the most obviously German in terms of tone and aesthetic. Or do I mean to say stereotypically German? Either way. Let’s play the All Music Guide game and list off some adjectives which apply to this song: cold, firm, austere, aloof, clean, sober, arranged, proper, low key, calm, melancholic, refined, sparse. This is taken from Morgenstern’s 2003 album Nichts Muss.

Elsewhere: London Booted is essential listening, a bootleg mash-up of the entire Clash London Calling LP made by some of the best bootleg djs in the biz. McSleazy’s “Lost Souls in The Supermarket,” Miss Frenchie’s “Fuck Em Boyo” (“Wrong Em Boyo” + “Fuck The Pain Away”!!!), Jimmi James’ “This Girl Wants A Cheat,” and Blo-Up’s mix of Tiga’s “Burning Down” and “London Calling” are all must-hears.

4/22/04

Can’t Tear Yourself Away, Can You?

Letters To Cleo “Rim Shack”

What this song reminds me of:

1) Being 15/16, mostly. This band hit around 1995 or so, they were all over Alternative Nation and 120 Minutes and their single “Here And Now” was on the Melrose Place soundtrack. I don’t think anyone took them very seriously, mostly because of silly ideas about “indie cred,” but also because they only had two or three really good songs (this being one of them, though it was never a single.)

2) When I was a teenager, I was very involved with my (tiny) high school’s literary magazine, and they used to send us to these writing conferences two or three times every school year. By far, these conferences are the best memories from my adolescence. Oh man, I loved these things – it was good for my ego, because I could show off in writing seminars, but the best thing was getting to be around kids from other schools. Meeting new people in general was a huge novelty for me at this point in my life, since my school district was so small and peculiar that I had basically been stuck with the same 50 or so people in my age group from Kindergarten up through senior graduation. I had to assume that since I wasn’t completely happy there, it was probably because I wasn’t around enough people like myself, and these conferences (as well as some classes which I took on the weekends at Pratt in my junior and senior years) gave me the feeling that I was correct. There was a whole world of smart, cool kids just outside of where I lived – in neighboring towns, across the river, in lower Westchester, in Long Island, in New York City. Of course, I was always too shy to actually make friends with anyone at these conferences, but just chatting a bit for an hour or having any exposure at all was enough for me.

3) Now let’s be very honest about this: I’m talking about how great it was to be around new cool people, but what I really mean is that it was great to be around new cool girls. I’m thinking about it right now, and I can’t even remember what the guys were like at these things. I’m sure there were others, because I would certainly remember the discomfort of being the only male at something like this. What I do recall are the girls – I still remember what a lot of these girls looked like, even though I only saw them for an hour or two nearly a decade ago. It’s funny what sticks in your memory, because I’m having trouble getting a solid mental picture of people that I saw every day as a teenager. Anyway, this was my first contact with actual indie girls, and it kinda blew my young mind. These young women set the template for what I thought I wanted from a girlfriend for the next three or four years. I’m a bit embarassed by this, because it certainly was not mature or healthy to fixate on appearances like this, much less to assume that I could understand the personality of someone based solely on their style and tastes. Of course, I’ve never actually dated anyone like the cute indie girls from my memories, not then and not now. (Though I’m open to it!) More than anything, thinking about these girls as a teenager was a comfortable fantasy. It was just a design for a life I wanted at the time – I didn’t have any specific interest in any of these people (in fact, I was probably more terrified of them than anything else), but they gave me an idea of the kind of people I wanted to be with.

4) I bought a copy of the Letters To Cleo tape a few days before going to a conference at Westchester Community College. I’m not clear on the specifics of what happened on that particular day, but I remember bits and pieces (mostly images), and it was obviously a pretty good day for me. On the bus ride home, I must have listened to “Rim Shack” a dozen times over. When I got home, I listened to it some more in my room, while looking out of my window in a general southern direction. This became a weird habit for me. Whenever I’d want to just think about how great things could be, I’d just stare south (which was really just down the street, looking at a bunch of trees) while listening to something which reminded me of either the conferences or NYC – “Rim Shack,” Sonic Youth, “Old To Begin” by Pavement (which I listened to on the subway whenever I was in NYC in 1997 for reasons I still do not understand), the Lynn Samuels radio show on WABC. It was a pretty weird thing to do, but I was a pretty weird kid.

5) This song also reminds me of this one strong visual image of a street someplace in lower Westchester (possibly in Mamaroneck?) that is burned in my memory for no apparent reason, but is closely associated with these memories. If I hear the “Rim Shack” chord progression, I immediately envision a semi-urban street with brownstones, trees, and newspapers on the street to be recycled. I have no idea how this image ever got in my head, or why it seems to have any significance.

6) I remember seeing the band interviewed on 120 Minutes, and the guitarist explained that this song was called “Rim Shack” because it reminded them of Led Zeppelin’s “Kashmir,” so they just reversed the title. Well, almost. They transposed the h and the s. But still.

4/21/04

Everywhere I Look, It’s A Darkness

McLusky “Without MSG I Am Nothing” FACT: McLusky’s Andy Falkous has an amazing rock voice. It just drips with contempt, deadpan wit, exasperation, and joy. He’s the kind of guy who can make righteous anger sound simultaneously ridiculous and totally reasonable, and make the most obscure lyrics seem menacing and/or funny. There’s a certain rough quality in Falkous’ voice which reminds me of Joe Strummer, but the style is all his own. This is the lead track from the forthcoming The Difference Between Me and You Is That I’m Not On Fire, which isn’t a terribly consistent record, but the best songs are worth sitting through the mediocre tunes. “She Will Only Bring You Happiness” is another highlight worth seeking out, particularly for the sweetly sung refrain “our old singer is a sex criminal.”

Toktok Vs. Nena “Bang Bang” (Tocadiscos Don’t Fake The Break Mix)– Yes, this is the same Nena who did “99 Luftballons” back in the 80s. This new single was made with the Berlin techno duo Toktok, who have done some other impressive work recently with another German singer called Soffy O.

Elsewhere: Songs To Wears Pants To is an amusing web project in which a man named Andrew crafts brief songs from suggestions and descriptions sent to him via email. As one can imagine, the requests are often very peculiar, but he almost always pulls it off. Two recent highlights include a song with the words sung in reverse and then reversed again after the recording, and a rap which does not include any words containing the letter E. (Thanks to Sharpeworld.)

Also: Please do listen to today’s special episode of Seven Second Delay on WFMU, in which Ken Freedman and Andy Breckman will both do call-in shows live on the air simultaneously in two separate studios, to be broadcast so that Ken’s show is in the left speaker, and Andy’s is in the right. I’m going to be helping out on the technical side of this, which is very exciting for me. This is going to be a very unique radio event, so please tune in. If you can’t catch the show live at 6 PM EST, it will be archived on the WFMU site tomorrow.

And: Am I the only one who was kinda sad to see Lane Kim display toxic Pitchforkian levels of Rockism while rhapsodizing about the “Death To Disco” movement on Gilmore Girls last night? I suppose that it was within character, but it still let me down in some way.

4/20/04

He Popped Me In The Oven And Set The Dial To Lovin’

One-T and Cool-T “The Magic Key” – This must be one of the most chirpy and cheerful songs about death ever recorded. In the song, a young boy raps about the demise of his family and friends, accompanied by a day-glo Max Martin-esque backing track and a chorus so catchy that if you were to have prolonged exposure to it, you may lose your mind. Though most of the lyrics are fairly typical and trite, there are a few lines in the last verse about God being a “superhuman baker” which are both mystifyingly weird and tooth-achingly cute.

Arabesque “City Cats” – This is taken from Arabesque’s 1979 LP Arabesque II. It’s not that surprising to me that this German disco group found its greatest success in Japan. There’s a joyful, kitshy ridiculousness about this music that fits right in with a lot of other Western pop that goes over well in that part of the world, not to mention the pop music which comes directly from Japan. What does surprise me is that this never did that well in France, though I suppose that the market for silly disco was totally saturated there by the late 70s.

Elsewhere: Oorsmeer, one of my favorite music blogs in spite of being almost entirely incomprehensible to me, is hosting a Poj Masta mash-up of N.E.R.D.’s “She Wants To Move” and Spanky Wilson’s “Sunshine Of Your Love” which is pretty hot in spite of the fact that I’m pretty sick of “She Wants To Move” right now. The C.H.A.O.S. Productions remix of “I’m A Slave 4 U” in the same post is a must-hear as well.

Also: Oh, look! Another mp3 blog: Music (For Robots).

4/19/04

I Don’t Mind If You Sing A Different Song

Sonic Youth “Paper Cup Exit” – As songs from the new Sonic Nurse LP slowly appeared around the internet over the past week and a half, I became somewhat nervous that none of the songs were quite good enough to be posted here. The first songs to surface in particular were alright but not especially inspiring – “Pattern Recognition” sounds like the band going back to their early 90s formula, and “Stones” could pass for an A Thousand Leaves outtake. I enjoy Kim Gordon’s “I Love You Golden Blue,” but I sense something missing in that song, though I haven’t spent enough time with it to figure out what that may be. “Unmade Bed” came next, and though it is a nice song, I can’t fully embrace it because it sounds as though they were holding themselves back from taking that song further into a direction that I suspect the members of Sonic Youth fear – disco and funk. If only they had just let it go and focused more on the groove at the start, it really could have been a new kind of Sonic Youth song – coulda woulda shoulda. The lead guitar parts on the song are gorgeous, though.

It’s not surprising to me that the first song that I embrace from Sonic Nurse (aside from “Kim Gordon & The Arthur Doyle Handcream” and “Peace Attack,” both of which I’ve known for a year now) would be the only Lee Ranaldo tune. I’m such a sucker for Lee – it’s come to the point where I think it’s safe to assume that a highlight of any SY record is going to be his turn at the mic. It’s just too bad that it’s all we ever get from him. I very much wish that he would do more songs, and that Kim Gordon would be the one to only do one or two songs per album from here on out.

“Paper Cup Exit” plays to both of Lee’s vocal strengths – he does his wordy speak-sing thing as per usual, and he sings earnestly on the more melodic sections while still seeming quite distant and aloof. There’s one strummed chord progression that is prominent in the song that sounds almost exactly like the one from his own “Karenology” from Murray Street, and I’m not sure if that is intentional or not. Given that “Karenology” (aka “Karen Revisited”) itself is a sequel to A Thousand Leaves‘ “Karen Koltrane,” I wouldn’t put it past them for including that theme as a nod to some intended continuity.

Elsewhere: Please welcome Christopher Porter’s The Suburbs Are Killing Us to the MP3 blogging game.

Also: Does anyone want to drive me down to Trenton, NJ to see a screening of the Glenn Tilbrook documentary One For The Road on May 8th? I’m not sure how much I’m kidding about this.

4/16/04

I Don’t Need No Bad Drugs

Bill Cosby “Dope Pusher” – This is from Bill Cosby Talks To Kids About Drugs, a record which was originally released back in 1971. The album was mostly Cosby doing just what the title suggests – chatting with kids and warning them about the dangers of drug abuse. That stuff is fine, but the real draw is when Cosby breaks into song. “Dope Pusher” is a surprisingly potent bit of hard psychedelic funk with Cosby shouting maniacally about the evils of “bad drugs.” Key lyric: “GOODBYE, DOPE PUSHER! GOODBYE, WITH YOUR BAG OF DEATH! AND AGONY! AND PAIN!” Last week, someone mentioned in the comments section that it was amazing that this record has not been widely sampled, and I’ve got to agree – in the first few seconds of this MP3 alone, you hear Bill say “how…do we get drugs?,” which is absolutely priceless.

Linda Lamb “King Meadowlands” – There is a quality to this song that I wish that I could adequately describe. It evokes some peculiar mixture of resignation, resentment, and eerie calmness. It’s somehow quite soothing even though it also makes me feel a bit anxious. This is taken from DJ Hell’s International DeeJay Gigolos #7 compilation from last year on Germany’s Gigolo Records.


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