Fluxblog
January 19th, 2006 1:35pm


It Makes Me Smile And It Keeps My Teeth Clean

Thank you to everyone who came out for the Fluxblog/Stereogum event last night. I realize that it was a work/school night and that DJ sets by a bunch of bloggers doesn’t quite match up to the entertainment value of a brand new (and very key!) episode of Lost, so I’m very grateful for everyone who showed up, and especially for the people who were still around by the time I started. I went on a little late. Sorry!

Spektrum “May Day” / Cristina “Mamma Mia” / Ludus “Breaking The Rules” / Dolly Parton “Baby, I’m Burning” / ABBA “You Owe Me One” / Girls Aloud “Biology” / Art Brut “Good Weekend” / Maxi Geil! & Playcolt “Makin’ Love in the Sunshine” / Beyonce with Slim Thug and Bun B “Check On It” / Fox “SSSingle Bed” / Hey Willpower & Annie “Chewing Gum” / Los Super Elegantes “Dance” / Rachel Stevens “I Said Never Again (But Here We Are)” / Hollertronix “Tippin’ Toxic” / Hank “Ferox” / Love Is All “Motorboat”

Hey Willpower with Annie “Chewing Gum” – Not a dream, not a hoax, not an imaginary story a homemade mash-up: Will (Imperial Teen) Schwartz’s pop group have teamed up with Annie for a duet version of “Chewing Gum,” resulting in a track that seems almost strategically designed to appeal to me. At this rate, we can expect a Stephen Malkmus/Eleanor Friedberger duet before the end of the year. (Click here for the official Hey Willpower site.)

Fox “SSSingle Bed” – Here’s another old family favorite for the newer readers. This brilliant glam-funk track is just a little over thirty years old right now, but it still feels a little bit ahead of its time. Unfortunately, this track is entirely out of print at the moment as far as I know, though the first two Fox albums were recently reissued in the UK. A reader just informed me that this song is indeed in print as part of a compilation titled Guilty Pleasures Rides Again. I kinda resent the implication that anyone should feel like this song is a “guilty pleasure,” but whatever. (Click here to buy it from Amazon UK.)



January 18th, 2006 6:32am


Look Out, Argentina Just Score Another Goal!

Last night I played a DJ set at an invite-only party along with the band Los Super Elegantes and Senior from Junior Senior. This should give you some indication of what to expect for tonight’s Fluxblog Vs. Stereogum event at Luke & Leroy, though I am planning on playing a fairly different group of songs.

The Silures “21 Ghosts” / Ce’cile “Hot Like We” / M.I.A. “10 Dollar” / Vanesshina & Allesandra “Gira” / Edu K “Popozuda Rock and Roll” / Wir Sind Helden “Guten Tag” / Girls Aloud “Models” / ABBA “You Owe Me One” / Cristina “Mamma Mia” / Ludus “Breaking The Rules” / Maxi Geil! & Playcolt “Makin’ Love in the Sunshine” / Beyonce with Slim Thug and Bun B “Check On It” / Fox “S-s-single Bed” / Goldfrapp “Ride A White Horse” / Robyn “Konichiwa Bitches” / Junior Senior “Take My Time” / Out Hud “It’s For You” / Gene Serene and John Downfall “U Want Me” / Ladytron “Destroy Everything You Touch” / Celestial Choir “Stand On The Word (Larry Levan Mix)” / The Meters “Cabbage Cosby Alley” / Zalatnay Sarolta “Hadd Mondjam El” / Prince “Controversy” / The Slits “I Heard It Through The Grapevine” / The Make Up “Pow! to the People” / Mia. “Heroes” / David Wrench “World War IV” / Hank “Defreeze and Top Gal” / Fox and Wolf “Youth Alcoholic” / Johnny Boy “15 Minutes”

Many longtime readers will notice that I pulled out a lot of old Fluxblog classics from ’03 and ’04 for this set. For newer readers, here are two of those golden oldies:

Mia “Heroes” – Not to be confused with M.I.A.! This Mia is a German pop band, and this is their cover of the David Bowie song, though it’s probably more accurate to call it a “reimagining” or somesuch since they take some rather drastic liberties with the song and sing the entire thing in German. I recently rediscovered this song after about not hearing for about a year or so, and I’ve fallen in love with it all over again. This track was originally posted here on February 18, 2004. (Click here to buy it from Amazon Germany.)

The Silures “21 Ghosts” – Though I do enjoy sharing music with you all, I ultimately do this site for fairly selfish reasons – if I didn’t work within this artificial structure, I would probably get lazy about seeking out new songs and then I wouldn’t have amazing obscure gems like this in my life. This is undoubtedly one of the best songs that I’ve ever featured on the site and probably my favorite way to open a DJ set, but since I’ve written about this song at least twice before, here’s a bit of testimonial from James at Green Pea-Ness:

“21 Ghosts” may well be the most stupefying jump-around-like-an-idiot hammer-of-the-gods not-actually-a-rock song I’ve ever heard in my life, with the possible exception of a certain song dedicated to determining the placement of bitches on one’s 99-strong list of problems. Honestly, I feel a little funny even giving credit to Pascal “Vitalic” Arbenz (one-half of the Silures along with Linda Lamb) for this one simply because it out-rocks everything he’s ever done, no small feat considering we’re talking about motherfucking VITALIC here. I’m thinking that this must have just been a lightning-in-a-bottle moment; all I can say is thank Jebus someone had a bottle handy.

This track was originally posted here on March 11, 2004.
(Click here to buy it from Amazon UK.)

Elsewhere: Eppy begs God to explain the existence of the new television series Love Monkey.



January 17th, 2006 1:25pm


Now That’s What I Call Holy Writ

Sugababes “Push The Button (Acoustic Mix)” – If you were wondering what this song would be like if the Sugababes were to perform it at your local open mic night, your curiosity should be relieved by this alternate mix. The arrangement is cut down to a spare acoustic guitar, piano, and some subtle percussion and keyboard effects, though the vocals seem to be entirely unchanged. Though this doesn’t quite match up to the sublime electropop of the original studio version, the song holds up very well to reinterpretation and should serve to encourage others to cover the tune in the future. (Click here for the official Sugababes site.)

Loose Fur “Thou Shalt Wilt” – Strangely, I never noticed that the name of this Wilco side project was a play on name Lucifer until I had to say it out loud this morning. They are pushing for irony pretty hard, given that the name of the new album is Born Again In The USA and this song is basically the Ten Commandments set to a jaunty Steely Dan-ish classic rock tune. (Click here for the Drag City Loose Fur mini-site.)



January 16th, 2006 3:48pm


The Weekend Stretches Out Infinitely

I’m Chareth, and John Cei Douglas is the Maximalist.

James Rabbit “United States Cooldown”

Just another West Coast maximalist: this James Rabbit song is so manic
Just another West Coast maximalist: it sounds like kids who have ADD taking speed
Chareth, The Flirt: what kind of images are you getting?
Just another West Coast maximalist: jelly and ice cream
Just another West Coast maximalist: balloons and streamers
Chareth, The Flirt: James Rabbit is a strange band. There’s always something just a little off about their music, like it would seem sort of normal if other people played the same thing.
Just another West Coast maximalist: yeah, i get that!
Just another West Coast maximalist: it sounds sort of skewed
Chareth, The Flirt: He always sounds like he can’t wait to get to the next lyric, he has this impatient excitement in his voice.
Just another West Coast maximalist: like they were given the wrong drugs
Chareth, The Flirt: actually I think it sounds like music by people who never ever take drugs
Just another West Coast maximalist: i meant medicine
Chareth, The Flirt: same thing!
Just another West Coast maximalist: sort of
Chareth, The Flirt: it sounds like their main motivation is interminable boredom
Just another West Coast maximalist: it definitely has a sort of manic childish enthusiasm, that almost doesnt make sense with what he’s singing about
Just another West Coast maximalist: and like he wants to play everything at once
Chareth, The Flirt: I really like the keyboard solo
Just another West Coast maximalist: i can’t for the… and then the – oh and then we – BUT THEN – KEYBOARD SOLO – OH GOD
Just another West Coast maximalist: that’s James Rabbit’s mind, right there

(Click here for Tyler from James Rabbit’s blog. He’ll send you a free copy of the album if you email him!)

Seth Kauffman “Get Your Love Stole”

Just another West Coast maximalist: this Seth Kauffman song sounds really odd to me
Chareth, The Flirt: really?
Just another West Coast maximalist: i keep expecting it to sound like something else
Chareth, The Flirt: how would you draw this song?
Just another West Coast maximalist: on an open road, in a bar
Chareth, The Flirt: would Earl be in it?
Just another West Coast maximalist: no, hes not swinging enough
Just another West Coast maximalist: it would romanticise drinking alone
Chareth, The Flirt: and how would Earl be bad for that?
Just another West Coast maximalist: he’s not romantic enough
Just another West Coast maximalist: he’s too cheeky
Chareth, The Flirt: it’s weird, this song feels so right and yet it’s really difficult to write about
Just another West Coast maximalist: it sounds really old
Chareth, The Flirt: it’s not old, it’s brand new! that’s the magic of lo-fi, son
Chareth, The Flirt: I was just walking around Astoria, and it’s really cold and there’s bits of ice and snow all over, and the song sounded perfect for that moment, but I really couldn’t form any coherant thoughts about it
Just another West Coast maximalist: ha! it makes me think of hot, summer nights
Just another West Coast maximalist: really stifling
Chareth, The Flirt: I guess it could work that way too
Just another West Coast maximalist: it reminds me of the Stones
Just another West Coast maximalist: end of the night songs
Just another West Coast maximalist: like 3am
Chareth, The Flirt: this sort of lo-fi always says “winter” to me, especially the high end of the percussion and the low end of the bass
Just another West Coast maximalist: i think this is possibly because one summer i listened to “let it bleed” all the time
Chareth, The Flirt: that would do it

(Click here for Kauffman’s empty website.)



January 13th, 2006 2:02pm


Imagine This Post As Being “Fun Size,” Like A Miniature Milky Way

Edu K (featuring Deize Tigrona) “Sex-O-Matic (Original Mix)” – This song makes sexuality seem almost entirely inextricable from combat, with every beat sounding like a shot aimed at the hips and every come-in in the vocals annunciated more like a taunt. (Click here to buy it from Soul Seduction.)

Stereo Total “Bad News From The Stars” – This glitchy cover of a Serge Gainsbourg reggae song could very well be the weirdest thing in the Stereo Total discography, but in a roundabout sort of way, it’s almost the most obvious thing they could do given their general aesthetic. (Click here to buy it from Disko B.)



January 12th, 2006 11:13am


For You Right Here It’s Awesome

Johnny Boy “Fifteen Minutes” – The wall-of-joycore sound of “You Are The Generation That Bought More Shoes And You Get What You Deserve” was no fluke. Almost every song on Johnny Boy’s debut album reaches a similar sort of ecstatic peak, and most of them reach those dizzying heights and never quite come back down to earth. Taken one song at a time, it’s a magical thing, but listening to one after the other is overwhelming and can numb a person to the brilliance of the material. (Click here for the official Johnny Boy site.)

Aziz Ansari – Excerpt from “Invite Them Up” – Comedy Central’s cd compilation documenting material performed at Eugene Mirman and Bobby Tisdale’s weekly Invite Them Up showcase on the Lower East Side is usually quite funny. The album’s three discs generally tip in favor of strong material from the likes of Mirman, Jon Glaser, Andy Blitz, David Cross and Jon Benjamin, and Jessi Klein, with only a few brief detours into lameness and unnecessary musical interludes. The highlight of the set comes from fellow blogger and comedy newcomer Aziz Ansari, who offers up a solid nine minutes of stand-up on the topics of turtle-fucking, Kayne West’s work ethic, hitting on M.I.A., and beating a cop with a brick. (Click here to buy it from Comedy Central.)



January 11th, 2006 5:04am


No One Will Dance With Us In This Zany Town

Stephen Malkmus @ Knitting Factory Tap Room 1/10/2006
Shoot The Singer / Church On White / We Dance / Box Elder / Ramp Of Death / Frontwards / Witch Mountain Bridge / Freeze The Saints / Major Leagues / Vanessa From Queens / Gold Soundz

Pavement “Shoot The Singer (Live @ St. Louis 1999) – I now live in eternal debt to the Brooklyn Vegan, who kindly hooked me up with a ticket to this show at the last minute and pretty much made my year. As you can see, this was a very special set, especially for a longtime hardcore Pavement fan such as myself. Malkmus performed the entire set alone with an acoustic guitar and without a setlist – everything played was an audience request. I was lucky enough to get two of the songs that I shouted for – “Shoot The Singer” and “We Dance” – and the One Louder dudes were treated to a lovely version of “Box Elder” that was played on strummed chords rather than the arpreggiated notes as per usual.

As you can imagine, the performance was a bit ragged as he attempted to play several songs that he clearly hasn’t practiced in a while – “Frontwards” was especially shambling, and the audience had to help him remember the words of “Gold Soundz,” even the “we’re coming to the chorus now” bit! Either way, he carried it off with his typical charm and no one in the room was about to complain, since he hasn’t publically performed Pavement songs in NYC since 1999. “Ramp of Death,” “We Dance,” and “Major Leagues” were especially well suited to solo performance, though I’m sorta mystified as to why anyone would call out for “Major Leagues” (much less “Freeze The Saints”) at an all-request Malkmus show. Songs that were called out but rejected for one reason or another: “Grave Architecture,” “Shady Lane,” “Old Jerry,” “Jo Jo’s Jacket,” “Father To A Sister Of Thought,” “Summer Babe,” “Ell Ess Two,” “Here,” “Range Life,” “Harness Your Hopes,” “No More Kings,” “Civilized Satanist,” and “Candylad,” the last three being particularly ambitious and obscure.

I can’t emphasize enough how big of a deal it is to me that I finally got to see the guy play “Shoot The Singer.” I’ve been wanting this for about twelve years now, and it’s easily among the highest percentile of my favorite songs in the world. I was convinced that I would only ever get to see it live if Pavement were to go on a reunion tour, and even then if I was very lucky. So yeah, yesterday was a very lucky day for me. (Click here to buy the studio recording from Amazon.)

Lashio Thein Aung “You Got What You Want” – More so than any other record that I’ve heard from the label, Guitars of the Golden Triangle: Folk and Pop Music of Myanmar Vol. 2 lives up the name Sublime Frequencies. The album collects a string of uniformly great Burmese psychedelic pop songs from the early 70s that were previously hopelessly obscure and almost entirely unheard outside of Burma. This gorgeous duet credited to Lashio Thein Aung is a major highlight from the compilation, and fairly representative of the set’s relentless catchiness and beautiful reverb. (Click here to buy it from Sublime Frequencies.)



January 10th, 2006 2:17pm


Send Me Someone Else To Love

Lee Rogers “I Want You To Have Everything” – Simultaneously jubilant and down to earth, this song captures the exhilirating rush of new love better than most any other song that I’ve ever heard, though I must say that my memory is getting hazier on the subject every day. If I’m way off the mark, please let me know and feel free to gush about your good fortune. (Click here to buy it from Amazon.)

Smiley Lewis “That Certain Door” – Poor bitter Smiley – burned by “that one-sided love affair” but still somehow ready to tumble right back into love, even if he’s still picking himself up from the previous disappointment. His voice is warm, optimistic, and big hearted, but it is his words and most especially his chilly guitar solo that speak for his doubts and apprehension. (Click here to buy it from Amazon.)



January 9th, 2006 1:26pm


My Zine Was Called “The Gift”

John Cale “Outta The Bag” – At this point, it’s a bit of a cliche for respected middle-aged actors to go on a talk show and explain that part of their motivation for being in a superhero movie or lending their voice to an animated feature was so that they could be in something that their kids could watch and enjoy rather than the same old grim Oscar bait. I like to think that John Cale made Black Acetate for similar reasons, although he is far less likely to achieve commercial success with this album than if he had, say, composed and performed a score for Pixar. And this is funny, because the album is almost frighteningly commercial, ranging from not-quite-there-but-close homages to The Neptunes, Outkast, and the Scissor Sisters to full-on late period alt-rock tunes that (musically if not vocally) resemble the work of rock radio staples such as Switchfoot and the Foo Fighters. In the context of his career, it seems almost as though Cale has followed a similar arc to that of Scharpling & Wurster’s “The Music Scholar,” pushing at the margins of art rock and the avant garde for decades before finding a new inspiration in contemporary Top 40. In the case of “The Music Scholar,” it’s sort of grotesque, but for Cale, it’s inspiring to see the guy try his hand at modern pop style. Even when the songs are duds, it’s not for a lack of craft and enthusiasm. (Click here to buy John Cale’s Black Acetate from Amazon and here to buy Scharpling & Wurster’s Chain Fights, Beer Blasts, and Service With A Grin from Stereolaffs.)



January 6th, 2006 2:50pm


Can’t Tear Yourself Away, Can You?

There won’t be a new post today, but rather than bring in a fill-in writer or skip the day entirely, I’m rerunning one of my favorite entries from the archives. This nostalgia-fest was originally posted on April 22, 2004.

Letters To Cleo “Rimshak” – 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 “Rimshak” 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 – “Rimshak,” 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 “Rimshak” 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 “Rimshak” 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.

(Click here to buy it from Amazon.)



January 5th, 2006 1:48pm


We’ll Watch Our Heroes Trip And Fall

Archers of Loaf “Nevermind The Enemy” – No, I’m not posting this to complete the 90s indie trifecta along with Malkmus and Pollard, but it doesn’t hurt. I’m mostly featuring this track out of the realization that in the four years that I’ve been doing this site, I’ve never written anything about this song even though it’s a pretty big deal to me. For one thing, there’s a strong nostalgia factor – I bought this when I was 15, and I have a lot of vivid teenage memories tied in with it, almost all of them quite positive. On a lyrical level, this song and pretty much the rest of the Vee Vee album holds a strong appeal to me for its unabashedly competitive sentiment, even if it’s laced with cynicism and pessimism. Virtually all Archers of Loaf songs were about scrappy underdogs fighting for their fair share, and in retrospect, the 90s was the perfect time for them, at least much more so than the Goliath-favoring decades bracketing their era. More than any of that, my enduring love of this song is rooted in that it’s like a sort of Platonic ideal of indie rock guitar for me. With its casual artiness, raw exuberance and impressionistic effects, “Nevermind The Enemy,” illuminates exactly what I dislike about the drab, uncreative style and guitar tone of the overwhelming majority of contemporary rock bands. (Click here to buy it from Amazon.)

Vivien Goldman “Launderette” – Unfortunately for the world, this brilliant a-side from 1981 accounts for a massive chunk of music writer Vivien Goldman‘s discography as a performer. It’s a shame given Goldman’s charismatic vocals and sharp lyrics about a love that begins, ends, and lingers on in an uncomfortable sort of afterlife at a tiny launderette. The bassline is particularly great, evoking both the churning of a nervous stomach and the gentle rumbling of a washing machine. (Click here to buy it from Amazon UK.)



January 4th, 2006 2:21pm


On The Playground We Learn So Much

The Gossip “Listen Up!” – From the first time I saw The Gossip open up for Sleater-Kinney early in their career, it was obvious that they were a band intent on getting their audiences to move. Up until recently, they were working with a fairly limited musical palette, drawing mainly on rockabilly, blues, and punk moves. On their new album, they’ve opened up considerably, drawing heavily on elements from disco, funk, and soul (and punk variations on all three…), resulting in the most effective and impressive music in their discography to date. Make no mistake – they are treading on familiar ground covered by several bands new and old, but they make it work by avoiding the strangely oppressive sexlessness of most contempory punk-funkery and emphasizing the vocals of Beth Ditto, who sings with a confidence and authority owing more to Diana Ross or Kim Weston than most anyone in the indie rock universe. (Click here to pre-order it from Insound.)

Elsewhere: The aborted Britney Spears/DFA track has finally surfaced. If you’re interested, The Prettiest Pony has it, at least for a little while. Get on it. (Predictably, they had to take it down, but you really ought to go to that site anyway, they have a lot of quality tracks over there.)



January 3rd, 2006 12:47pm


Hot Ham Water

Talking Heads “Right Start” – Even if the Talking Heads had never gone ahead and finished this early version of “Once In A Lifetime,” they would have ended up with a brilliant song. Though the completed version is unquestionably superior and arguably the highest peak of their career, “Right Start” is a fine showcase for David Byrne’s gifts as a guitarist, as his parts are foregrounded rather than obscured by bass and keyboards as in the post-Eno arrangement. It’s also quite interesting to observe the shift in tone from this demo to the album recording – though the song ends up feeling epic and anxious, it began as a rather light-hearted and casual affair. (Click here to buy it from Amazon.)

Zalatnay Sarolta “Rogos Uton” – I don’t understand a word of Hungarian, but it hardly matters with a singer like Zalatnay Sarolta. She’s overflowing with power, soul, and authority, whether it be on pure funk tracks or ragged classic rock tunes like this selection. This track is taken from a cd-r compilation made by APT‘ s Alec D, who apparently met and befriended the woman ten years ago and is distributing it in the hope that it will lead to finding her again. (Buying a copy of this cdr compilation will be tricky. Other Music in NYC has it for sale, but it is nowhere to be found on their mailorder website. You can try emailing the address on the inside sleeve: alec @ aptwebsite.com )

Oh hey, look – Bloggie nominations are open. I’m rather baffled as to why they have abandoned the music category at a time when music blogs are booming, but you can feel free to nominate this site in the following categories: Best American Weblog, Best Entertainment Blog (this site was nominated for this award last year, but Defamer won by a large margin in a rather strange apples vs. oranges vs. pomegranates competition brought about by the ridiculously broad category), Best Writing of a Weblog, and Weblog of the Year. It’d be awfully nice if the lot of you voted heavily for music sites in these categories (it doesn’t have to be this site), if just to send a message to these people re: the popularity and vitality of music blogs. After all, people like Eppy, Sean, Tom, Abby, Tyler, Jessica, Nick and Carl are much better candidates for the Best Writing category than whatever group of chumps who are likely to be nominated, and Tom Ewing has certainly had a far greater influence on the world of blogging via his recently-defunct NYLPM than most any tech/design geek who is going to be a shoo-in for the Lifetime Achievement award this year.



December 30th, 2005 1:01pm


A Future Uncertain, Where Anything Can Happen

Stephen Malkmus “Malediction” – There were many songs from 2005 that I related to on a lyrical level for one reason or another, but none of them quite as much as “Malediction,” which touches on the major themes from my personal life over the course of the year with a rather startling degree of specificity. It’s funny, who would have ever pegged Stephen Malkmus to be such an effective life coach? Face The Truth was full of lots of good advice on dealing with the mundane details of life with maturity and grace, like an indie pop self-help album without ever being remotely lame or trite. At this point, he’s been my favorite songwriter for so long that it’s easy for me to take his new work for granted, but it’s songs like this that serve as a reminder that he’s never lost the ability to make wonderful music that seems as much like the soundtrack to my inner life as he did when I was fourteen. (Click here to buy it from Matador.)

Charlotte Hatherley “Stop” – This is a song about the future, and the thrill and terror that comes from not knowing what’s just ahead of you. In print, the lyrics seem obtuse and vaguely negative, but set to this enormous wall of post-grunge riffery and delivered in a dry, matter of fact tone of voice, there’s an overall effect of serenity in the midst of chaos. There are plenty of good reasons to be worried about the future, but that should never be an excuse to retreat from it. The best thing about the future is that we have some degree of control over it, which is only true of the past if you’re capable of changing other people’s understanding of it. I have a good feeling about 2006, not just for me, but for everyone. I’m not a religious or mystical person at all, but nevertheless, this song is my little prayer for you in the coming year. (Click here to buy it from Double Dragon.)

Lee Moore “Boweavil” – If anyone should ask you who it was who gave you these songs, tell ’em it was the Fluxblog – 2005’s done been here and gone! I’m no longer looking for a home, but I’m still looking for a home. (Click here to buy it from Dust-to-Digital.)



December 29th, 2005 1:53pm


You Could Surely Try To Be More Alive

White Circle Crime Club “I’m Going To Expose You” – Aside from the bits of incoherant punky shouting, this is almost a dead ringer for Sonic Youth circa 1987, approaching the same sort of blown-out black and white sci-fi cityscape that Thurston et al evoked on Sister (aka my favorite SY album.) There’s one patch in particular (from about 4:21 through 4:50 or so) that I think might actually be directly lifted from an Sonic Youth record, though I can’t quite place it. (Click here to buy it from Conspiracy Records.)

Mates of State “Fraud in the ’80s” – Poor Mates of State – they’d be crazy for the duo to not to perform this song live since it’s probably the best song they’ve ever written, but if they do so, there’s just no way they could pull it off without a) some major cheats with pre-recorded parts (ie, most of the arrangement) b) additional players onstage c) totally overhauling the arrangement and potentially sacrificing much of the song’s appeal. But either way, there’s a lot to love in this studio version, from the specific tone of the overdriven keyboards to the gorgeous self-harmonization to the verses, which sound a bit like a perky version of Mary Timony. (Click here to pre-order it from Barsuk.)



December 28th, 2005 1:37pm


The Things You Said, Forgotten

The M’s “Trucker Speed” – The first few minutes of “Trucker Speed” is impressive enough with its bustling rhythms and scorched guitar tones, but it’s all just a prelude to an inspired outro in which the “winter heat” of the psychedelic fuzz duels with the “summer snow” of a melodramatic string section. I’m pretty sure that the strings win in the end. (Click here for The M’s official site. Click here to buy tickets to see The M’s on a bill with Rogue Wave and The New Pornographers on New Year’s Eve in Chicago.)

Ms. John Soda “Nº One” – I propose an alternate title: “Can’t Get ‘Bull in the Heather’ Out Of My Head.” Well, the “Bull in the Heather” bit is a stretch, but it’s a little like being in a car with a person who hasn’t heard the song since it was on 120 Minutes in 1994 trying to remember how it goes while Kylie plays in the background. (Click here for the official Ms. John Soda site.)



December 27th, 2005 1:17pm


Expose The Part Of It All

Robert Pollard “The Right Thing” – The first minute or so of “The Right Thing” is the ultimate Pollard demo castoff – a promising snippet of melody lost in a poorly recorded mess of unsure guitar playing and awful singing. If you’re familiar with Pollard’s extended catalog, you’ve most certainly come across a few of these and wanted to shout at him “FINISH THE SONG! YOU CAN SING AND PLAY BETTER THAN THIS!” And for once, he actually does, shifting into a proper full band arrangement after a solid minute of flailing for notes that aren’t necessarily out of his reach. It’s not the first time he’s juxtaposed a raw demo and a full studio recording in the same track, but as far as I can remember, it’s the most successful he’s ever been at being meta about his process while also providing an interesting dynamic that suited a song. (Click here to buy it from Merge Records.)

Also: Would anyone be willing to hook me up with the Doctor Who Christmas special? I simply do not have enough space on my laptop to get it via bittorrent, and I’m very eager to see David Tennant in the role.



December 23rd, 2005 1:53pm


Is This The Yule Tide?

Pledge Drive (featuring One Of Each) “Christmas Rhapsody” – It wouldn’t be Christmastime on Fluxblog without breaking out this old chestnut! This Christmas themed adaptation of Queen’s “Bohemian Rhapsody” goes a step beyond parody – it’s amazingly faithful to the original recording, and performed with a straight faced earnestness and professionalism that is both admirable and totally bonkers. (Click here for the official Pledge Drive site.)

Ed Shepp “Scenes From A Life: A Lonely Christmas” – Christmas may be a lovely time for many people, but being forced to bask in the glow of other’s joy and togetherness can drag less fortunate people down into the darkest depths of despair. In this clip, WMFU radio personality Ed Shepp tells the story of the most miserable Christmas of his life. (Click here for Ed Shepp’s blog and here for the Ed Shepp Radio Experiment archives.)



December 22nd, 2005 2:20pm


It Makes You Forget What It Means To Be Free

Patton Oswalt “My Christmas Memory” – The best Comedian of Comedy shares a Christmas memory from his youth involving Alvin and the Chipmunks. There’s really not a lot more I can say without wrecking the bit for you. However, you might want to avoid the “mash-up” version made by a fan that has recently been posted on Oswalt’s site – it’s overly literal and omits the funniest part of the routine, and that’s all before the beats come in. Yikes. (Click here to buy it from Patton Oswalt.)

Islands “Swans (Life After Death)” – At nearly ten minutes, this song feels like it’s stuck in some sort of eternal homestretch. It’s restless and eager, but never quite where it wants to be as it pushes onward towards some vague horizon. Unsurprisingly, the lyrics seem to be a meditation on mortality. (Click here for the Rough Trade site.)



December 21st, 2005 3:40pm


Born In A Manger, Humble And Low

Cotton Top Mountain Sanctified Singers “Christ Was Born On Christmas Morn” – I try not to revisit the same record too frequently, but how can I resist putting up another track from Dust To Digital’s wonderful Where Will You Be Christmas Day compilation? It’s a goldmine of vintage Christmas music, plain and simple. This jaunty singalong dates back to 1929, and features a charismatic lead vocal performance from Frankie “Half Pint” Jaxon, a lovely cooing backing vocal, and an inspired instrumental section played on the cornet. (Click here to buy it from Dust To Digital.)

Richard Reagh “No One Really Wants To” – This isn’t Christmas music, but it’s most certainly music for the winter, which officially begins today in spite of the weather being pretty damn cold for the past several weeks. Reagh captures a very specific gradation of melancholy on this track, lingering aimlessly in a zone where doubt, resignation, blankness, lethargy, and lovesickness mingle to create a general seasonal malaise. It’s not a fun track, but it’s very pretty. (Click here for the official Richard Reagh site.)




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