Fluxblog

Archive for the ‘Uncategorized’ Category

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.

4/15/04

Pretty Please With You On Top

Sixtoo w/ Damo Suzuki “Storm Clouds & Silver Linings” – This one sells itself: experimental hip hop producer makes beats approximating Jaki Liebezeit circa Tago Mago + brand new, non-sampled vocals by Damo Suzuki from Can. If you took this track a few years back in time and told everyone that it was a missing Can outtake, almost everyone would have believed you. This is out right now as the b-side of the Boxcutter Emporium 12″, and it will also be featured on Sixtoo’s forthcoming debut LP Chewing On Glass & Other Miracle Cures on Ninja Tune.

Ghostface w/ Jackie-O “Tooken Back” – I’m not kidding about this – I was really trying to keep myself from posting this, because I had placed a self-imposed moratorium on Ghostface and Method Man, since they’ve both been on so many tracks on Fluxblog over the past year. I had to cave; this song is just too perfect. It’s from the brand new Pretty Toney Album, which is somehow even better than Supreme Clientele, which just shouldn’t be probable. The new record is made up of nonstop soul samples, sometimes even including full verses and choruses from the old records played underneath rapped verses. As a whole, it almost sounds as though Ghostface is rapping over a complete episode of Downtown Soulville. It shouldn’t work, but the man pulls it off.

Elsewhere: Fans of Strangers With Candy should check out the MP3 of the documentary which inspired the character Jerri Blank on this site, which also includes photos and a transcript of the film. (Thanks to Sharpeworld!)

4/14/04

That’s So-And-So From ’82

Girl Talk “Bodies Hit The Floor” – This is a selection from Girl Talk’s new mix album Unstoppable, which is a marathon of glitchy mash-ups of hits from the 90s and 00s. A lot of the record sounds like nothing so much as artful, deliberate channel surfing, but a majority of the tracks manage to coalesce into structured songs in their own right. I’m not sure about this, but I suspect that the sample of “Cry Me A River” in this mix may be taken from one of those Kidz Bop compilations, but it could just be Justin Timberlake pitched up a bit. It would be so much better if it were Kidz Bop, though – those things are just begging to be fucked with by clever DJs.

Laptop “Greatest Hits” – Let’s take a trip in the wayback machine, alllllllll the waaaaay baaaaack to….2000! This is taken from Laptop’s debut album Opening Credits, an underrated album of Jarvis Cocker-esque quasi-highbrow sleaze set to groovy electropop. “Greatest Hits” finds Laptop’s alter ego trying to talk himself out of a poorly conceived and badly received compliment, but only managing to make matters worse for himself.

Elsewhere: There’s a brand new remix of Low’s “I Remember” over on the Empire State Human site which is well worth checking out. It’s Low, so it’s obviously pretty downbeat, but ESH keeps it as lively as a triphop track is likely to get. The remixes of “Milkshake” and “Galang” are pretty solid too, if you haven’t heard them yet.

Also: Very good news for Saturday Night Live – Jimmy Fallon is leaving the show at the end of this season. (Thank you to Whatevs!) This works out well for everyone involved – Fallon can go make a fortune doing shitty movies, and the show loses a wildly inconsistent and unprofessional player who shamelessly cops all of Mike Meyers and Adam Sandler’s moves; writes and stars in an endless stream of subpar sketches starring his derivative characters; and makes a fool out of poor Horatio Sanz in every sketch they appear in together. Jimmy is alright once in a while, but he’s never good enough to make you forget all the crap he’s foisted on us in his years on the show.

Hopefully this is the first step towards correcting the mess that the show has become over the course of this largely unwatchable season. The next step should be to fire whoever has been booking the guests, and also whomever at the show has decreed that every episode should have at least three or four sketches in which the host plays themself. This problem was especially evident in the vile Donald Trump episode, in which all but two sketches in the whole episode were about him and his terrible reality show. (One of those two remaining sketches was totally derailed by Fallon and Sanz’s giggle fits, and the other was a poorly written political sketch about Richard Clarke which was completely unamusing, and only served to remind me of how well the Daily Show’s writers can come up with solid jokes about dry political proceedings.)

I know that it is unrealistic to ever expect SNL to be consistently funny, but the most horrible thing about this last season has been that a pretty strong cast is being wasted on such lousy material. Folks like Amy Poehler, Fred Armisen, Seth Meyers, Tina Fey, Rachel Dratch, and especially Will Forte are all very gifted performers, and they deserve better than this. If lesser talents filled out the current cast, then it wouldn’t seem like such a waste of potential.

4/13/04

You’re So Special, Let Me Know Where You Live

Rework “Not Quite Like Any Other” – I’m such a sucker for songs like this – woozy, hazy, romantic, melancholy, ridiculously European. Perhaps my mind is too trained by film and music videos, but it’s hard for me to hear this song without thinking of old European cities shot in stark black and white with some stunning woman with pale skin, dark hair, and sunglasses walking around looking distant and disaffected. It’s just that kind of song. This is taken from Rework’s new album Fall Right Now on the German label Playhouse.

Rabbi Haywire “Real” – In what could be the strangest of all of the new home recorded music to surface so far in 2004, Rabbi Haywire (who is not actually a rabbi, but instead a “Jewish female freak machine” according to her website) sings lyrics about the nature of reality, cybersexuality, and living in a post-apocalyptic dystopia over samples and beats in a little girl voice, like something out of a Philip K Dick fan’s jailbait fantasy. Of the six songs that she’s posted on her site, “Real” is the most mellow and mature, but those of you who would like to hear something far less restrained and much more mental should check out the bizarre “Hot Cybergoth Bitches,” in which she raps like some kind of cross between Strawberry Shortcake and Thurston Moore.

Elsewhere: Boom Selection has the brand new Soulwax single “This Is The Excuse” available for download. Snap it up quickly, it’s pretty incredible, and it features Nancy Whang from LCD Soundsystem.

4/12/04

There’s Going To Be Some Changes In The Coming Year

Au Revoir Simone “Through The Backyards Of Our Neighbors” – This is taken from the forthcoming debut EP by Au Revoir Simone, a new all-girl keyboard-based band from New York City. The song is so wistful and romantic, it’s too bad that I couldn’t have posted this along with the John Cei Douglas comic from a while back, because it would have been a perfect match. Imagine a dreamier Electrelane or a warmer Stereolab, and you’ve got the right idea. There’s so much potential here, it should be interesting to see how this group progresses over the next year as they write more songs.

Valorie Keys “Listen Here” – I hadn’t heard this version of the classic Eddie Harris (who is not to be confused with one of the world’s most obnoxious actors, Ed Harris) song before a few days ago, but it was immediately clear to me that Sleater-Kinney has lifted almost all of their retro-soul moves directly from this recording. I would be completely shocked if the members of that band didn’t know this particular version of the song, especially since “Step Aside” from One Beat in specific sounds like a rewritten version of Keys’ “Listen Here,” right down to the vocal deliverary. Don’t get me wrong – I don’t fault them or anyone else from knicking the good bits of older songs, especially not when they have the good sense to lift from material as great as this. “Listen Here” is a fun bit of assertive soul, with a nice sunny skip to it that is perfect for the beginning of spring.

Elsewhere: Fans of The Fall should check out the interview with Mark E. Smith from this past Saturday’s episode of The Cherry Blossom Clinic on WFMU. Mark talks a bit about playing in the United States, performing in a wheelchair, the new Fall album, and his taste in comedy.

4/9/04

Go Crazy! Go Nuts! Allllllllllllllllllllll Weekend! There’s No Sleeping! There’s No Sitting! There’s No Resting! We Are Moving And Grooving! Carrying A Stick!

Murray Saul “It’s Friday!!!” – Long time readers of this blog will no doubt remember this from when I posted it about a year ago. I don’t know how anyone could ever forget something like this. Saul sounds as though he is having a total mental meltdown as he hypes up his listeners for the weekend – he barks, growls, rants nonsensically, and eventually speaks in tongues as though possessed by demons. When this first aired on WFMU’s Aircheck program, no one at the station knew who this DJ was, but recently a cd of Saul’s classic radio rants was released, and the mystery of the unhinged DJ was solved. As it turns out, Saul was a salesman and radio personality on WMMS in Cleveland, and has been broadcasting since the late 60s. You can read more about Saul here and here.


©2008 Fluxblog
Site by Ryan Catbird