Thursday, August 20, 2009

Swimming Pools & Summertime Tunes


J Bennett Fitts photography series "No Lifeguard on Duty" showcases retro motel pools in such exotic locales as Victorville, Panama City, the Inland Empire, others. It's interesting to look at the pools, most only partially if even filled, as well as the skies that Fitts captures- the colors complement the abandoned faded-out feeling of the pools, a Polaroid aesthetic. Check out the rest!

Ella Fitzgerald – Summertime featuring Louis Armstrong


Found at skreemr.com

Billie Holiday - Summertime (Organica Remix)


Found at skreemr.com


Tunes can be downloaded if you follow the links. I'm not sure how I feel about the Billie Holiday remix, but I'm leaning towards the positive so I threw that in there (it sounds like something they would have used in Kontroll), and then I threw in "Ebin" for good measure because 1. Sublime makes me think of driving in the car in the summer and 2. my boyfriend won't stop listening to it for some reason and now I want to hear it. And then I thew in "Crack Rock Steady" because I never post these guys and it seems like a good poolside song. (And it's been stuck in my head.)


Desmond Dekker - Israelites


Found at skreemr.com

Choking Victim - Crack Rock Steady


Found at skreemr.com

Wednesday, August 19, 2009

Zoe Avril


I've been a fan of Zoe Avril since I heard and saw the video for "On ne changera pas le monde" (I believe it was posted on Filles Sourires.) It got mega plays on my iTunes but I had trouble finding other stuff and let it go.

But I just found the entire album (and you can too!), the self-titled Zoe Avril. I, and I expect I'm not alone, associate French chanteuses with light often simple and cheerful, and when not cheerful, slightly melancholic, songs. It helps also, as Jim pointed out regarding Carla Bruni, that they're usually easy on the eyes.

If you get a chance to watch the "On ne changera pas" video, you'll see that Zoe Avril is the most cheerful person you've ever watched in a music video. She seems to be having fun but also seems to be genuinely happy to be singing. I'm not sure if the video is supposed to be a satire of a kid's show or what. It's almost a little disconcerting (not knowing the lyrics but knowing that the gist of it is "one will never change the world" and that we need to live simply, and maybe she's talking to her mom?) but at the same time the energy engenders enthusiasm in the viewer. Anyway she should be happy. Her work is fab, fun to listen to, catchy. The music itself is poppy and sugary with fun sound effects (the opening of "Avec toi" makes use of subtle clicks and horns, video game synthy notes on "Jeune diplomee"), and Avril's voice can easily and smoothly bounce between a light sweetness typical of this genre to a more serious, even more vulnerable mature sound (think Keren Ann), already evident in the chorus of "On ne changera pas" and in stand-out form in the urgent "L'accident."

Here are a few tracks, which you can download if you click through to divshare. Buy the album here.


Thursday, August 13, 2009

Penguin Merch

I totally want these, though I can't decide between the two. And while I don't want a deck chair, I wouldn't say no to this one.

Wednesday, August 05, 2009

Remember the Offspring?

Well I bet you don't remember PhD Molecular Biology/Offspring frontman Dexter Holland looking like the guy from the Goo Goo Dolls. But wait. . .


You can't tell, can you! (Dexer is on the left.) And I mean, yeah, Dexter isn't known for wise hair choices (beads. . .) but still.

That was a single (watch it here) off their latest release, which I completely missed, something with a long name ("Rise and Fall, Rage and Grace," 2008.) I like the Offspring, and I still have fun listening to their songs even though I liked them in middle/high school. I had put them into Youtube and noticed that there were some new videos. Lo and behold, etc.

For those of you who are too young to remember (kids on Youtube. . . jhaha, except for this guy: "This reminds me of my pog collection.") the Offspring wrote 90s/early '00s classics like "Pretty Fly for a White Guy," "Come Out and Play (Keep Em Separated)," "Gotta Get Away," the underrated "Da Hui," "Bad Habit," and "Original Prankster." If you pick up there greatest hits album and you listened to the radio in their heyday, you will recognize and probably have memorized a big chunk at least the chorus. Hailing from Long Beach, the Offspring wrote fantastic pop punk and always seemed a little wilder than the Blink-182 guys. Even with classic gems of lyrics like "When you're in prison don't be no one's bitch" the band managed to pull together, like their fellow pop-punk Green Day & Blink kids, some incisive commentary on the brat culture of the 90s.

So this new album. I've checked out a few of the singles' videos. "You're Gonna Go Far Kid" delivers the expected harmonies and melodies that have always recalled a light hearted Bad Religion, and "Stuff Is Messed Up" opens with an American Idiot-era Green Day drum beat. It's all okay stuff, and while everything sounds familiar, nothing quite achieves that special Offspring formula that we all have come to know and love. But as that implies, I'll always have a soft spot for the guys and I will give them the benefit of the doubt. The record company MADE Dexter wear a John Rzeznik wig.

Tuesday, August 04, 2009

More music for a hot summer day with Sublime & Bedouin Soundclash

Obviously this photo has nothing to do with anything except hopefully those bathing suits means it's hot out, but it's from Toronto Life, credit due. Maybe that dapper old fellow is waiting for his ruca. So here is the original from Sublime, and then the Bedouin Soundclash cover, which loses a lot in the interpretation but features their as-usual great vocals and makes for a decent track if you pretend it's a different song. Click the links to listen & grab. You can buy "40 Oz to Freedom" here.

See me in a 'alter back. See me give you heart attack.

But enough bitching about songs I feel bad about liking/can't decide if I like it. The weather is finally clearing up (for now), and it's time for some good summer music. And here's a surprise-- it's a little reggae for you (because it's hot in Jamaica, I just checked the weather), "Uptown Top Ranking," a song I had criminally forgotten about til last week and is now being played every hour. Althea & Donna are the youngest artists in Britain to top the charts when in 1978 they reached number one in the UK. As with such tracks as "Return of Django" and Link Wray's "Rumble" it's absolutely impossible to not, as they say, groove along to the track.


Monday, August 03, 2009

Yeah Yeah Yeahs' "Zero"

I meant to post this closer to its sister posts. I had earlier written about Thao and the something-or-other's "Swimming Pools" and also about Lady Gaga. As an update, I haven't been hearing "Poker Face" in the supermarket anymore, and I'm not really missing it. The ultimate in disposable pop music.

So the last horse in my pop-songstress guilty pleasure trifecta is "Zero" by the Yeah Yeah Yeahs. First, though, I don't like Karen O, and it all has to do with the way she dresses. I don't like it and I hate seeing people influenced by her on the streets or on the L train. Her clothing, designed by a friend of hers, looks slapped together and sewn poorly, like all that doll clothes you used to make when you were a kid but always got too impatient to actually finish. There are ways to be avant-garde and creative and then there are ways to be sloppy. Like the "work" of the art students who worship the band, Karen O's fashion veers towards the latter-- uninspired and attention seeking.

As I mentioned, indie rock tends to be guilty pleasure music for me, and this song, this band in general, also falls in that category. They're widely-played tracks are either fun radio singles or uninteresting songs like "Y-Control"-- which have the same elements that the good singles have, catchy phrases, a blend of musical styles, repetition-- but never come together. When they stick to making radio-ready music, they succeed, though the songs are so catchy it's easy to get sick of them ("Pin"). I get YYY fatigue easier than I get Johnny Depp or "Such Great Heights" fatigue. "Maps" was a great song until every station in the world was playing it every hour, on the hour.

I think I might stick with "Zero" for awhile, though. It's a big song and does a lot more with the vocals than other songs have, eschewing the gimmicky "Pin"-like chorus, resulting in a track that is more mature and ambitious. Check it out.

Saturday, August 01, 2009

Retro Book Covers for the Future


Check out the rest! Harry Potter by MS Corley. He has also given Narnia the treament.


As promised, I Can Read Movies series from Spacesick. Don't forget to check out the rest.


There's been a small spate of book cover designs projects modeled on old classic Penguin/60-70s book covers. The results are quite extraordinary. The designers pare down the book, movie, or video game to a few elements descriptive of the entire product. Not only do these artists have a good eye for design, but they also have a sense of how essential evocative symbols are in describing something much larger, especially because books and movies-- stories, basically-- require time and dedication because they exist as complete products, as "whole" or "big" pictures. The symbols must intrigue someone enough to spend time on further exploration.

Also check out the video game series, including Zelda, GoldenEye, GTA IV, and Silent Hill, by Olly Moss.

Friday, July 31, 2009

Spacesick makes stupid cute art that makes me giggle and want to hug things.


Click to check out the cutest organs ever and what really happened to the Venus de Milo. . .Continue reading!

Spacesick's blog features his design work, retro flavored illustrations, animation, and miscellany (including some potential mash-ups.) All of it is great, colorful stuff with sugar-high commentary from the artist, but the two things that have really stuck with me are how fantastically cute the graphics (a lot for t-shirts) are and the sweet "I Can Read Movies" series of book covers.

The book cover designs, taking advantage of old 70s formats of classic Penguin books and the like feature such films as "Dawn of the Dead," "Highlander," and "Sixteen Candles." The designs are precise and simple and oftentimes very funny. A few of my favorites can be found in the post above (up there!)

Spacesick's designs are, again, simple and colorful and cheeky and cheerful; they're hipster tees but they are free from tired irony.


"Organ Rejection," avail. as a t-shirt.


"Infamous mishaps throughout history" collab with artist Aled Lewis, also a t-shirt, also an action figure!

Thursday, July 30, 2009

C'est quelqu'un qui m'a dit que tu m'aimais encore


So it seems like Carla Bruni is practically perfect in every way, goddamit, having achieved the equivalent of the princess girls now want to be when they grow up-- a model, musician, political figure of sorts. Of course she is married to a DIRTY OLD MAN (ha! it wasn't the black man) who looks like an evil parrot, but I mean, I guess he's the king of France of something.

Bruni is a mature, classic beauty who makes the pedestrian Megan Foxes of the world look hilariously incompetent, and has an intriguing range of appeals from Audrey Hepburn-esque charm to a Yé-yé girl to what could have been the most gorgeous Bond girl, and she also has a good First Wife face-- approachable, the access point of the public and the media to the halls of power.



About a year or so ago we were favored with current it girl I made up my name by adding extra y's-Agyness Deyn's milquetoast foray into the musical world, and while that was like, uh huh, ok, don't quit your incredibly lucrative day job, Carla Bruni apparently writes her songs and has a wonderful voice. Her albums get lukewarm to positive reviews, and while they are your typical acoustic Chanteuse fare, there's not a lot to criticize because she gets it right and the result is an enjoyable and relaxing listen.

Musically, the tunes range from folk Français to echoes of le jazz hot to bluesy torch numbers. The spare, mostly acoustic instrumentation is unfussy and atmospheric, while the I-couldn't-care-less ambience is occasionally punctuated by chimes, insouciant whistling or an impudent, sly giggle [amazon].

Check out the dulcet "Quelqu'un ma dit (Someone told me)," track 1 off her 2005 debut album of the same name and the cheekier "Le plus beau du quartier." It's almost springtime music, or some mild summer night listening, so it might help you cool down in this nasty heat we've got going.

Carla Bruni - Quelqu'un ma dit


Found at skreemr.com

Carla Bruni - Le Plus Beau du Quartier


Found at skreemr.com

I was really excited about Public Enemies.

I even used my giftcard to see it on opening night.

The short of it is. . . Public Enemies is not worth the price of the movie ticket; it would be the same experience if you streamed it online or bought it from some old Chinese woman on the corner of Canal. As for the long of it. . .

THE GOOD?
1. The costuming.
2. Jason Clarke as Red was a pleasant surprise. He needs to be in more stuff.
3. Well, Myrna Loy, Clark Gable, and William Powell are sort of in it.

THE EPIC BAD?

What's dismaying about Public Enemies, over and beyond the unintelligibility of much of the dialogue and the sliminess of its digital sheen, is that it has no sense of why it's been made [Sukhdev Sandhu of the Telegraph].


1. Shaky cam. There is no reason to imply a "we were there" feel if there was obviously nobody there. This isn't a horror movie. And the HD. I couldn't tell if if was the theater or the quality of the film, but it seems like it actually is a result of the HD.

2. Johnny Depp starring as Johnny Depp made for an uninspiring, uncharismatic Dillinger who walked around and smirked at things a lot la that pirate guy. Christian Bale was likewise blah, though billy Crudup put in an interesting performance as J Edgar Hoover.

3. Poor attempts at emotional grounding. When the screenplay writer is using some half-ethnic tragedy (Marion Cotillard's character, as I recall, is half-Indian or something), you know they're half-assing it. What was most peculiar was the screenplay's attempts at establishing the relation dynamic between Billie (Cotillard) and Dillinger. Dillinger on several occasions demands that or forces Billie to repeat phrases after him ("I will return, baby," or something.) I got the impression that the writer thought this would indicate how committed Dillinger is. Instead, it comes across as the first step in a controlling relationship that dives into abuse.

This spilled into the dialogue, which was packed with platitudes. Exchanges went somewhere along the lines of "I like whiskey and women"-- "I'm a woman"-- "You're not whiskey." Thanks, guys.

4. The Great What? In order to demythicize someone, it is essential to explain the social and economic conditions that gave rise to such a public's creation and embracing of the myth. This movie failed to bring forth the man that was Dillinger and the world that he operated in. If you are going to make it a romance, go ahead, but the vague and silly attempts to emotionally develop Dillinger (see above) only highlighted the movie's awkward handling of the entire history of the figures and events. About twenty minutes into the movie, I felt like I would have gotten more out of watching a documentary instead, no matter what kind of promise of humanization the advertisements made.

5. No shades of gray. The story was told entirely in black and white morals. The excuse could be that this was done because Dillinger is a folk hero, but the movie fails to acknowledge the economic and social environment that would give rise to such a figure that could be so easily cast in a black and white world. The reference to Manhattan Melodrama is almost embarassing for the film especially because Melodrama, for all its of-the-times, well, melodrama, actually ends up being more compliated than Public Enemies, with its straightfoward and predictable love-story and clear cut bad and good guys.

In particular, the writers felt the need to come up with a bumbling woman-beating cowardly federal agent in order to further (fail to) dramatize Dillinger's death. A second outcome is the uninteresting closing death scene. If the movie was trying to make any commentary, or even to inject any sort of complication into the myth of Dillinger and the environment he operated within, would not have whitewashed the moments after Dillinger's death. While the camera zoom up into a bird's eye view, it would have been fascinating to see precisely how the people in the street reacted to the death-- especially the souvenir collectors who supposedly began to essentially loot the body. That would have added some grit, realism, or flavor to what is essentially a flat movie. We all are still waiting for a Dillinger movie, a film that should be easy to make because of its fascinating source material, but which apparently isn't. You'd be better off watching Manhattan Melodrama, which I highly recommend. The actors are more charismatic, the relationships more complicated, and the everything just more better.


Public Enemy - Don't Believe the Hype


Found at skreemr.com

Richard Avedon Set


Speaking of models and sweet photography, Flickr user Confetta has, among a host of other great sets that are worth your time, a great Richard Avedon photostream, with pictures of everyone from Marilyn to that crazy Bjork broad to Carson McCullers to Avedon himself. Pictured above is a detail from one of my favorites ("Egypt") and there are plenty more where that came from.

Wednesday, July 22, 2009

How to do it right because the New York Times couldn't figure it out.

We all got to make fun of the New York Time's magazine's hilarious presentation titled "latter-day Rude boy fashion with puffy sleeves and dresses that would scare Sid straight and last seen on Shane MacGowan while sober." Or something. But the point of laughing and pointing should be constructive, to point out flaws and to find alternatives or examples of the right way.

Luckily, Clayton James Cubitt has an awesome photoshoot "Lagos Calling: A fantasy anthropological study of African skinhead fashion from the early seventies." Check it out, below are my two favorites. And now. . . I want more Fred Perry products. Hrrmph. Make sure to take a look at his other stuff, especially the Katrina series.

via StayRudee blog.

"Post-racial" and the "unfathomable" arrest and Star Fucking Hipsters.


The arrest of Henry Louis Gates Jr. (who is old and cute) has been getting a lot of media coverage that I just caught up on yesterday while eating a massively delicious egg and croissant sandwich at the diner up the street (where there was the cutest old man in the world at the table next to us.) I just read CNN's article on it and I haven't changed any of my opinions on the incident. If anything, a lot of what has been said has reaffirmed it.

1. Don't argue with police officers. Raising a stink, no matter what color you are, is what gets you in trouble. So what I should say is don't argue with police officers unless you know what you're doing/what is going to happen. It's not like arguing with the DMV people.

Three days ago, coming back from the bodega, we saw an Italian/LI type run and get the cops and sic him on a black guy around the corner (apparently they had gotten in a fight.) He ran to a van full of cops who were sitting around outside the pizza place, and they all hustled over to investigate. One of the cops patted the black guy down, and the black guy, instead of pulling a Gates, let them do it, then talked to them reasonably, if loudly. Yeah, I'm sure he was upset, but he knew what to do in the situation. By that point, the accuser had of course disappeared and while it's ridiculous that six bored cops had to take care of the situation, the situation was actually taken care of by everyone's keeping their cool. We saw all this because they were right outside our building and we didn't want to go back in since we're not supposed to be living there. Experience with other incidents and the way things have been taken care of has made it clear that not raising a stink, no matter how humiliating, frustrating, or unfair things seem to be or are, leaves everyone not happy but at least kind of mildly satisfied with NOT BEING IN JAIL. (I'm really not into the romanticism/bragging rights of being in jail/your man being in jail, whatever.)

I'm not defending cops. Cops, for all the good they do or could do, cause just as many problems and have the capacity to cause a lot more. But right now, there's a system.

2. Who's racist? Gates brought up the subject of race.

The officer asked Gates to "step out onto the porch and speak with me," the report says. "[Gates] replied, 'No, I will not.' He then demanded to know who I was. I told him that I was 'Sgt. Crowley from the Cambridge Police' and that I was 'investigating a report of a break in progress' at the residence.

"While I was making this statement [that he was investigating a phoned-in break-in], Gates opened the front door and exclaimed, 'Why, because I'm a black man in America?' "

According to the report, Gates initially refused to show the officer his identification, instead asking for the officer's ID. But Gates eventually did show the officer his identification that included his home address.

"The police report says I was engaged in loud and tumultuous behavior. That's a joke," Gates told The Root. "It escalated as follows: I kept saying to him, 'What is your name, and what is your badge number?' and he refused to respond. I asked him three times, and he refused to respond. And then I said, 'You're not responding because I'm a black man, and you're a white officer.'"

Wrong. Sgt Crowley was "not responding" because Gates was a non-cop and the sgt. was a cop. You can call police neo-SS-blah-blah-whatevers but you could be a walking Skrewdriver song and the police will get you for talking back.

Gates was the one doing the racial profiling when he said, "You're not responding because I'm a black man, and you're a white officer." He chose to be immediately indignant, which is understandable, but aggressively so and with regards to race. He had the higher ground because it was his house and he has proper ID. He lost it as soon as he started making the same assumptions that he accused the cop of making-- impressions based on race as well as assumptions about professionalism-- he assumed the cop couldn't see a black man as a wealthy professor, he assumed the cop as a white cop couldn't make a decision without regards to race. He has now also lost the right to accuse anyone else of racism without first acknowledging his own towards both whites (as anti-blacks) and towards blacks (as victims of anti-black whites.)

A neighbor phoned in the "break-in." All the coverage is likewise racial profiling by reminding everyone she is white. The "crime" she committed is not knowing who her neighbor was. On the other hand, she was trying to help out her neighbor. Gates and his driver were trying to force the door open because the lock was jammed. He had been on a trip. Of course someone is going to call the cops if the neighbor has obviously been out of town and two guys are huddled over a doorknob. It was all very innocent. Perhaps Gates' blackness contributed to her suspicion. Gates has said that he doesn't blame the neighbor but rather the policeman. Gates is clearly trying to find a way to bring up racism. His own admission that it was a "trumped-up charge" is correct-- but arrests usually are.

3. People need to stop saying "post-racial." In the article, it is used to describe a society free of racism. First-- it heavily implies (not explicitly) that the only racism existing and that needs to be fixed is that of white people. Second, pipe-dream. Third, Gates is quoted as saying, "There's been a very important symbolic change and that is the election of Barack Obama. . . But the only black people who truly live in a post-racial world in America all live in a very nice house on 1600 Pennsylvania Avenue."

The Obamas do not live in a post-racial anything. The fact that he is celebrated as the first black president of the United States means that there is still recognition of race. And frankly, that label is incorrect. He is the first biracial president of the United States. Racial groups will always claim or reject based on their own makeup. Virulent white racists will see Obama as black, virulent black racists will see him as half-white, and the list goes on. As a biracial American, I'll obviously see him as biracial. None of these are steps towards a post-racial society. Gates labeling the Obamas and himself as "blacks" is the first clue that we aren't in a post-racial anything, without efforts towards such a state coming even from its self-proclaimed proponents.

I see nothing "unfathomable" about the arrest, and I definitely see racist tendencies from both sides. Anyone who has dealt with a cop knows that raising a stink will be the determining factor in how far the law is applied. Gates is pushing the onus of his decision to argue with a cop on the easiest way out-- calling "ism."

Gates said, "There are 1 million black men in the prison system, and on Thursday I became one of them." Obviously a dramatic personality. Because he was probably kept over night and ACD the next day. And there is no reason to presume all 1 million of those innocent of a crime. Gates should not cast his lot so casually.

Gates is obviously a smart guy (Hahvahd) and knows it, which is probably one of the reasons why he chose to object to the cop's presence-- not as a black but as a self-aware well-off intellectual. He has said

"I can't believe that an individual policeman on the Cambridge police force would treat any African-American male this way, and I am astonished that this happened to me; and more importantly I'm astonished that it could happen to any citizen of the United States, no matter what their race," Gates said. "And I'm deeply resolved to do and say the right things so that this cannot happen again."

The focus should be on his words "to any citizen of the United States." Hopefully, as a media figure, if he tries to use this as a teaching tool, he will see it not as a racial issue but as a problem that needs to be fixed with the way police operate, especially the amount of power that they have. Because the cop was doing what he probably would have done no matter what.

There's a difference between having a valid complaint and doing the wrong thing-- the equivalent of doing nothing--to try to fix it. Take what Scott Sturgeon did, for example. Also a smart and friendly guy, and he did something dumb-- threw donuts at cops. Haha, funny. He did it to get arrested. He knew what a cop would react to and Gates didn't. Sturgeon sees his action as helping to raise awareness of what he sees as a violation of free speech (I'm still iffy on the whole thing but SFH has a valid point.)

This is not simply an issue about an arguably politically juvenile punk band & their lyrics or their sound decibel debate -- this stretches past all that now. [. . . read more here. . .] On top of that - during the incident last May - they flat out refused to give their badge numbers & took down the information of every kid that walked up to the venue. No matter what inane ramblings the man says - its punk to challenge authority (at least - the last time I checked) & its now an issue about the violations of free speech. Quoting an officer from the 9th precinct on the behavior of these Brooklyn Cops : " these people are no longer cops, they are criminals. "

("an arguably politically juvenile punk band & their lyrics or their sound decibel debate"-- hee hee.) Anyway, hopefully Gates will see that what's "punk" or "anti-racist" or whatever you want to say should be secondary to fixing a problematic system. The more you work on that system of authority and governance, the less problems, ie racism, there will be to contend with as that system is perfected by its citizens.

Mick has some good advice (cos this is supposed to be a music blog.) And PS- I'm really sick of hearing this album even though I love it-- I got mad into it last fall and then it tapered off from over-exposure, and now the boyfriend is getting re-back into it and monopolizing the living room speakers--but here's the video for "Two Cups of Tea," from Star Fucking Hipsters.

Wednesday, July 08, 2009

Florence and the Machine - Lungs Review

I don't know what it is that is stopping me from being crazy about this release-- many of the sweeping orchestra arrangements recall Patrick Wolf, but there's something missing. Florence Welch's voice is similar to Meredith DiMenna's (Saint Bernadette)-- sultry and flexible and capable of a lot-- but lacks the strength of Saint Bernadette.

This might be a result of the music itself. The album seems confused. Sometimes the epic musical grounding works-- particularly on "Dog Days Are Over"-- but at other times, like on "Hurricane Drunk," it just sounds like Joss Stone getting overexcited.

There is a strange contrived feeling, as though somebody pointed out that the album needed to be BIGGER and that's what they went for. While this works on the very Patrick Wolf-esque "Cosmic Love," which is saved from being a disposable by its use of a plethora of strings and backing vocals as well as well-placed drums, on most of the tracks, this unfortunately makes the lyrics-- and thus the vocalist-- seem disconnected. The music doesn't bother to become delicate in order to highlight certain lines or Welch's delivery. Welch mentions that she likes choir music, and while this is done well in the recording, there is a strange lack of natural melding between the lyrics, the voice, and the action of the song unless it is in that the music tends to absorb or even drown Welch's voice.

I think the problem is that the first version of "My Boy Builds Coffins" that I heard was an acoustic track that I heard on Youtube (skip the intro- it's tedious and will make you not really want to get to know Florence, who comes off as that boring girl who is spacey for the sake of being 'interesting" because she can't figure out what else to do.) This version showcases the words as well as Welch's voice and results in a product much more emotional and interesting than all the crazy film score like music that makes the final version almost maudlin. Even the demo version, which is a more jazz-oriented track that recalls Nina Simone's "Feelin' Good" is more effective and affecting than the record cut, which I'd go so far as to say that they ruined it.

Perhaps that is it. Listening to the record, it seems like you should either be hearing a big lush album that could double as an avant-garde soundtrack or a sparse if not acoustic album. The problem comes with the feeling that the latter would have resulted in a better, more interesting product. Instead, they chose big and made an album that wavers between boring and messy except for a few standout tracks. Actually, the NME guy puts it well: "as it is, it may be breathtaking in places, but Flossie’s ‘Lungs’ are just a bit too full of bluster."

JLA to team up with Muslim Counterpart, the 99


This is cool-- the New York Times reports that the JLA (DC) will team up with The 99 (Teshkeel Media Group) a group of Islamic superheroes imbued with powers from gemstones containing the light of reason which, in classic superhero style, were scattered across the world. You can read the first issue of the comic at the99.org. Fabian Nicieza, who has written Azrael and for The 99, will be writing-- no word on the artist yet.

Tuesday, July 07, 2009

Swimming Pools


In the same vein, indie rock came be just as big of a guilty pleasure as pop. So here we have--

Thao and the Get Down Stay Down-- let us ignore for a sec the insufferable indie rock band name here + (while I can't speak for the personality of Thao, who is a fine vocalist) an ethnic name to remind us that Asians can be insufferable indie rockers too-- make pretty typical indie rock, fronted by a pretty typical female vocal style that is just as dependent on the actual voice as it seems to be on the singer's attempt to swallow her tongue before she gets too excited and starts making the occasional stab at subdued yelps-- a suppressed Karen O.

But they do, I just found out, have a pretty interesting song called "Swimming Pools." Ignoring the pretty typical indie rock lyrics (stuff about "we" and "us" and "little girls"), it's a fun bouncy song with a banjo and an infectious beat reminiscent of Pascal. You can check out an interview with the lead singer (below); not terribly essential reading but the host site has quite a bit to offer.

Monday, July 06, 2009

Am I allowed to like that Lady Gaga song?

Another one of these-- coming to terms with guilty pleasures.

"Poker Face" is a great pop song, with good hooks and effects, where the lyrics don't even matter right off the bat. One youtuber seems to have thought it was "fucker face," which it might as well have been for all anybody cares. The actual lines aren't much more inspiring than that. And I thought it was "he'll reply" rather than "Can't read my--," though in my defense, my guess made sense-- I thought it was about texting, and "the poker face" meant she was not responding, or maybe he wasn't. Who knows.

Basically, "Poker Face" is fun, as agreed, but uninspiring. I heard it at the supermarket today (why do these places not carry sesame oil?), and all my exposure to the song has been in similar locations, but even though you can kinda groove to the song while you're poking the suspicious 99-cent peaches, and even if you go look up the music video when you get home, there's nothing there that makes me want to go look at her other songs, or even sit through the video. It's the case of bringing it up in one tab and looking at Smoking Gun mugshots in another tab.

The video, as far as I can tell, has some really sweet Great Danes and a strip poker game, though for allergic-to-pants Lady Gaga, the rules are different. Instead of losing an item of clothing, she has to change into an even uglier outfit, leaving her at the end with a stupid big bow in her hair and the guy next to her in his boxers. This is actually important because Lady Gaga as a media figure is irritating; she is doing nothing good for fashion and the extremities of her style makes her persona more attention-whoring than innovative. So when you don't need to watch the video, you don't have to worry about whether or not you like the singer.

Wednesday, July 01, 2009

Thursday, June 25, 2009

The Times on 'Latter-Day Rude Boy Fashion': Swing and a Miss

I know my audience so I'm pretty sure you guys will get a kick (in a bad way) out of this photoshoot the New York Times magazine did recently, and not just because the outfits clock in between $400-$1000 or because the last photo in the series has puffy lady sleeves. I can't even imagine who suddenly decided this would be a good idea.

Tuesday, June 09, 2009

The Other Patrick Wolf Vid is better than the weird one

Patrick Wolf "Hard Times" Video from biz3 publicity on Vimeo.



But it's still weird. Patrick Wolf makes use of glow in the dark facepaint in a day-glo Pierrot musical number with kaleidoscopic effects. Half the time you want to reach out and knock some sense into Wolf-- still can't get over that direct self-absorbed vibe that leaks out of him- but the Boschian spectator nuns and assortment reinterpreted in a techno-club setting adds an interesting, innovative touch that is missing in the Vulture vid. This video is more representative of the actual genius of Patrick Wolf's work balancing with his ego to create good music, this time indicated by his use of a backing chorus to enhance the track, the idea that working with others makes for a better product. Perhaps the chorus' (representative) physical presence in the video makes gratuitous images of Wolf's face more palatable.

Saturday, June 06, 2009

1944: D-Day marks start of Europe invasion


D-Day announced by the BBC. Click to listen.

President Franklin D Roosevelt told a news conference the invasion did not mean the war was over.

He said: "You don't just walk to Berlin, and the sooner this country realises that the better."

Wednesday, June 03, 2009

Stormtroopers! STORMTROOPERS!

"Stupid Garbage Compactor. . ." Property of JD Hancock


JD Hancock, whose Flickr stream you can check out here, has put together an awesome and fun set of stormtrooper action figure shots-- a sort of behind the scenes/day in the life of the average Imperial ground troops complete with really, really wonderfully bad puns. It's a welcome addition, especially since the stormtrooper gets no respect, ever since Lucas decided they were all clones. (Anybody keeping up with the EU stuff? Are classic trilogy troopers clones?) Anyway, Hancock's photos are a passel of delightful miniature fun, and if you like what's up there, checking out the other pictures is time well spent. Also check out this creative reproduction of Jabba's palace (or whatever seedy place Boba Fett stopped at en route to Tattoine with a Bith band.)

Monday, June 01, 2009

Don't Watch the Patrick Wolf music video if you want to like the song.


I've known at the back of my mind that Patrick Wolf was putting out a new album soon, and I finally headed over to Youtube to watch the video for the album's first single, "Vulture," which was released in April.

Patrick Wolf describes the video as "an intimate portrayal."

I am going to direct the video for the new single "Vulture" by myself.. I may be mad... but I just want to deliver the most intimate portrayal to you of the dark self destructive place in my heart and groin that the song was written from..... Let's just say it just may have to go on x-tube rather then youtube for its debut! [via Wikipedia]

The caveat always added to my fondness for his music is that I am quite undecided on him. The video spells it out neatly; he features himself, in dramatic black and white, in three leather-heavy costumes. The "dark, self-destructive place" in Wolf's heart looks like bondage, elves, and looking like Morrissey. Watching the video, though, makes me uncomfortable not because of the explicitness but because it comes across as explicit for narcissism's sake, an "intimate portrait" made so that he could watch it over and over again and marvel at himself. Wolf is a good looking guy, but we don't want him to know it. It's like watching Morrissey without the explicit understanding that after decades, there is going to be an element of camp. To Morrissey, you can say, "Oh, Moz. What a douche." To Wolf though, the message is "Yo son, calm down." A product of the millennial generation satuaration with constant affirmation, perhaps, taken to new heights in the life of a prodigy? Whatever it is, he thinks it's all art when in fact the video comes across as posturing.

But the song is good!

Thursday, May 28, 2009

pffft.

Well guys, I got dinged again, this time by a scary little DCMA e-mail from Blogger, which I'm sure y'all have had personal experience with. This time I knew that I was posting a recently released track etc, I was doing it because I was impressed with that particular track and wanted others to hear it. Frankly, I didn't think anyone would notice this corner of the internet; as I said earlier, apparently free publicity isn't good publicity. Anyhow, I've pulled the Rancid track, just in case, but I'm keeping the other Green Day track up because whoever was pawing through my posts didn't really care to be thorough.

So I just want to take a sec to reiterate that Rancid has their entire album up on their Myspace, which is a pretty cool thing to do. It's not Reznor-core, and I'm not expecting it, but the best thing is that it's a very generous fan-minded move.

The Pacific Miniseries

Well, I had no idea! As usual.

Steven Spielberg and Tom Hanks, the guys who brought you everything ever including Band of Brothers, are teaming up again to produce HBO's The Pacific, which will do, the advertisements are suggesting, for the Pacific Theater and the island-hopping campaign what Band of Brothers did for Europe. Hans Zimmer will be doing the score, and ignoring the fact that means that it will be a rehash of the Pearl Harbor soundtrack mixed with Pirates (which isn't a problem as long as people figure it out; in defense of John Williams he comes up with new themes and leitmotifs, if not filler, unlike Mr Zimmer, who does a fine job each time regardless), this is looking like a massive production that is slated to air March 2010. More and up-to-date info can be found at Pacificfans.com.
"We are able to visit the home front on this one and we're able to show the guys before the War and after" [Tom Hanks.]

So, cool. I'm stoked. With Ingloriuous Basterrrds coming out, or however you spell it, this should be a fun run in screen releases. And yet, embarrassingly enough, I still have to see Band of Brothers. There are a few reasons that I haven't. We didn't have HBO when it originally aired, and everything time they re-air it on the History Channel, I come in halfway through, or it is out of order. And even though Virgin is going out of business, I would still have to spend much more than is feasible to buy the thing, even thought I'm ready to make the dive from hype to purchase (just at a lower price.) And finally, I am for some reason terrified of bittorents. I don't know why. It might be for the same reason that my new bazillion terabyte harddrive scares me. Whatever that reason is. ANYWAY, any familiarity with the Pacific theater campaigns suggests that this will be a pretty harrowing television experience. And that I need to get on that whole watch Band of Brothers thing.

The trailer is up for you to watch, the series being pitched as depicting the "battle that saved Australia" which I guess is technically what that whole thing started as, though it ignores the rest-- the part where they advanced towards Japan and set up airbases and stuff and like yeah, I know you all saw Letters from Iwo Jima. Anyway, hopefully they'll get the marketing right, because about the only people that direction is going to attract is Australians.

Also, this is an interesting site; it's personally maintained and has tons of photos and information, including profiles of the real players, overviews of the books that the series will be based on (as Band of Brothers was), and a wealth of information including a cool side-by-side comparison of the actors and actual figures-- the casting people got some of those pretty close!

Wednesday, May 27, 2009

Let the Dominoes Fall Review


Rancid is previewing their upcoming album in its entirety on their Myspace! Go listen! The record doesn't drop til the beginning of June (when some pretty epic package deals will be available), so this is a great opportunity to get a taste of what the band has been working on for six years.

It's a typically track-heavy Rancid album (count comes in at 19), but in the grand tradition the songs hover around the two minute mark.

Let's get the bad out of the way first, because for the most part I'm starting to really dig this record. The few songs that don't work are messy and border on uninteresting ("Lulu" gets off to a great start. . .)-- which is the lamentable part, since Rancid is never boring. Single "Last One to Die" is still a weaker track, though it makes more sense in the context of the whole album, though "LA River," which was one of the first songs that was previewed live last year and which I want to like, either needs some work or just won't ever work-- I need to hear it a few more times-- though it has a fun psychobilly bass riff. "The Dominoes Fall," an almost celebratory "whatever" track, has a silly chorus ("No no no no no etc") but is otherwise enjoyable. What saves many of the weaker tracks is the interplay between the vocals ("Disconnected," which I think also deserves a few more listens before a decision is made) as well as classic Rancid imagery (in "Disconnected," nation as the prototypical Rancid lady) and the gracenotes of Tim's pronunciation, syncopation and energy ("Damnation" and "I Ain't Worried About a Thing") and Lars' ability to make any phrase anthemically melodic-- basically, Rancid doing what they've always been doing.

When the tracks really fall flat is when the lyrics drag them down, especially when vague political statements are dropped, though this doesn't happen often beyond the noisy "This Place." When Rancid sticks to the more pathos-alert storytelling (think "St Mary") that in turn are able, when designed, to convey political views, the lyrics really standout, as in the nicely produced, "Memphis"-like "New Orleans": "Yeah it rained all night in New Orleans."

As a note, I do like Indestructible so maybe you shouldn't be paying attention to me, but now I think I know how people feel about that album, in terms of my feelings about Dominoes. I like it, and the more I listen to it (second time as I write this) the more I'm digging certain tracks, but it will take some time.

Two sounds that really work: First, the bands' return to their trademark swaggering ska/reggae punk ("Up to No Good".) This time, they are treading heavily in the territory of Tim Armstrong's solo release ("Skull City" could have been a more rock n roll-oriented track-- by way of, say, "She's Automatic"--off of Poet's Life), and while I'm not sure if this is a good or bad thing, the results are fun. Second: slower, contemplative, almost alt-country/western-influenced (in theme and sound) tracks like "Civilian Ways" (reminiscent of Ryan Bingham) and closing track "The Highway," a pleasant acoustic ballad complete with harmonica and generous feelings, are ths most surprising and characterize, perhaps, a new direction that the band could explore more. While it is a surprise that Rancid decided to indulge in this experiment, the exploration itself itsn't really a great leap of logic or geneology. A major component of Rancid's thematic material involves the outrageous boasting of rap and outlaw country, exemplified by the Transplants' work and also Viking, and punk tends to head south at some point (or maybe north, from Jamaica.)

I've been putting the new Green Day and Rancid releases side-by-side, mostly because of the proximity of release date and the anticipation. My final verdict? Rancid. I gave Green Day an ambivalent review because while on one hand there was nothing new, it was still a fun album on the tracks that got off the ground. On the other hand, Rancid, even though there are duds on the record, doesn't stray into self-parody or oversentimentality which is endemic in 21st Century Breakdown; my criticism of Breakdown is more concerned with fundamentals. Rancid has always had an earnestness to their songs that let's them get away with murder ("Radio"), whereas Green Day relies too heavily on shock value (oh, they said sodomy!), which might work for its new target audience but won't work for anyone else. in the world. Even though I held Rancid up to a much higher standard than I did 21st Century Breakdown, the rundown is that my more generous expectations were confirmed with Green Day--digestible, predictable and fun album unfortunately weighed down, much like American Idiot and songs like "Macy's Day Parade," by pontificating-- and were exceeded with Rancid--who don't let the few duds to be duddy enough to outweigh the good tracks.

  • New Orleans
No longer available; sorry guys-- they killed my Green Day post (all that hard work put into the review! I guess free publicity isn't worth it anymore) because of the tracks posted, so it's better to be safe than sorry I guess; looks like another few weeks staying off the radar, but I'll do my best to find other stuff to write about ;) Don't forget, Rancid has been generous enough to make the album available on their Myspace!

Tuesday, May 26, 2009

LA Times Bitches About NPR's Sausage Party Book List


Carolyn Kellogg, who is obviously a smart lady or she wouldn't have this gig, recently posted on the LATimes Book blog about Dick Meyer's "100 Years, 100 Novels, One List" opinion piece on NPR.com. Beneath a truly tacky and reductive accompanying image (edited with just as juvenile a sensibility above) that makes Kellogg's piece seem more silly then it should be made to, her complaint is spelled out: there aren't enough women on the list. There's 7.

Who isn't there: no Flannery O'Connor, no A.S. Byatt, no Annie Dillard, no Margaret Mitchell, no Katherine Ann Porter, no Isak Dinesen, no Gertrude Stein, no Joyce Carol Oates, no Margaret Atwood, no Edith Wharton, no Zora Neale Hurston, no Eudora Welty, no Rebecca West, no Annie Proulx, no Nadine Gordimer, no Doris Lessing, no Simone de Beauvoir.

I could never lament the absence of Zora Neale Hurston on a list, the woman who wrote Their Eyes Were Watching God, one of the few books along with The Bean Trees- the most politically correct book you will ever read (Indians, adoption, ethnic people, women, there must have been domestic abuse- I can't remember)-- that makes me tear my hair out for having spent time reading. And writing five paragraph hamburger essays on.

Kellogg also points out that a lot of books on the list are "the kind that were assigned to be read in school, which indicates a kind of incurious reader to me." This is an unfair assumption. For the rest of us, say, those of us who attended LA-area public schools, only a handful of these were assigned for reading, and that's if they were taught at all. I was at least lucky enough to go through the joke that is the Honors/AP English track in high school, and only 9 of those were assigned, and only 1 on the Miss "missing" list (Hurston.) Kellogg has no way of knowing how a reader came to certain books. Frankly, you have to be a pretty curious reader to read most of the books assigned in school, especially in light of the mediocre quality of teacher-hires tend to be, along with lesson and classroom quality. Kellogg has no business making anyone ashamed for coming to a book through school. No matter how dismal the state of education is going to be, if she is going to disparage the quality of readers coming out of it, she should better spend her time trying to rectify the situation instead of harping on gender politics.

Meyer's list, which he states was formed around the concept of "how much the book hit me, moved me, made me see — and how it stuck with me" is fine because it is his list. A comment on Kellogg's piece makes a good point: "I'm afraid your article comes off like you're complaining that someone else's favorite color is green, when your favorite color is blue." Maybe Kellogg is trying to make her blog (or job) more relevant, but the fact that it is such a cop-out complaint (women! as Father Jack would say) makes it just more of the same. She should make her own list and give not just names but specific books. Not only will this make someone take her article more seriously, it will interest someone in actually reading the book. I agree that Katherine Anne Porter is a fine author, and Ship of Fools is a great book. In fact, I would put it on a "Best Of" list, but I have no way of knowing what Kellog thinks, or what book she is refering to. More importantly, what book am I missing out on? Right now, the reader just glosses over the usually gender bias complaint because it is the usual names. The inclusion of missing male authors, again as opposed to specific books, indicates that she is just picking a fight without providing specifics (again, which Henry James book would make the list?) If she makes a list, it will be just as fun to take a look at, and it will be just about as much as Meyer's- a list of his favorite books- means. Anyway, when did "Best of" lists actually mean anything? The fact that it is a group opinion compressed into one long list has always indicated that to take them seriously indicates you're taking yourself too seriously.

I just like finding out how dumb I am by seeing what 5 or 6 books I've actually read. That's the fun part. (I've read a lot of books. But remember, there are like 80 Hardy Boys books, and 15 Rogue Squadron books, and I totally count the Lord of the Rings as 3 separate books.)

The ones I've read: (You can see the complete list here. I've starred the ones I would add to my best of list.)

2. The Great Gatsby, F. Scott Fitzgerald
3. The Catcher in the Rye, J.D. Salinger
4. Heart of Darkness, Joseph Conrad*
8. Lolita, Vladimir Nabokov*
10. A Passage to India, E.M. Forster
11. To the Lighthouse, Virginia Woolf
12. U.S.A. Trilogy,John Dos Passos
14. To Kill a Mockingbird, Harper Lee*
16. All the King's Men, Robert Penn Warren*
43. A Soldier of the Great War, Mark Helprin (I'm reading this one now.)
44. The Big Sleep, Raymond Chandler*
46. Charlotte's Web, E.B. White*
48. The Secret Sharer, Joseph Conrad*
55. The Spy Who Came in from the Cold, John LeCarre
72. Lord of the Flies, William Golding
75. A Confederacy of Dunces,John Kennedy Toole*
76. One Flew Over the Cuckoo's Nest,Ken Kesey
80. A Fan's Notes,Frederick Exley
84. The Maltese Falcon,Dashiell Hammett
88. Seize the Day, Saul Bellow
94. Tinker, Tailor, Soldier, Spy,John le Carre*
99. The Godfather, Mario Puzo*

Thursday, May 14, 2009

Ok Bub (with or without FX)

On the eve of its release, the new Wolverine movie had 100% on Rotten Tomatoes. The reviews were mostly from online sites with a clear geek bias, and by the release date the percentage had dropped to a more sane 37%. The world once again made sense.

At the same time, I had hoped that the initial enthusiasm from reviewers who are clearly fans of the genre meant it would be at least be a fun watch for like-minded viewers. This is not the case. I watched it a few nights (ack! delay in posting: saw it about a week ago) ago online, and though the real movie had been out for about 5 days, it ended up being the infamous leak version. All said and done, I'm glad I didn't pay the $13 I don't have to see it bigger and with real airplanes. (How funny would it have been if not even Logan's snikt claws were in the leaked version?)

There was something incredibly bland about the whole movie, much like the other X-Men films, and too much drama rested on emotional relationships that were never established in anything but name. (The only time it was successful was with the old farmer couple, but there would have had to been serious problems with the film to not win sympathy in that situation. It'd be like watching Dumbo's mother get put in jail and be able to say, either thanks to your own blackened heart or a complete failure on the part of the film maker, "Well, it's just his moms. Whatevs.") Gambit, who I still think should be played by Ed Burns and definitely think should not be played by the heinously coiffed unknown they got, was awkward and uncompelling for the eight minutes he was on screen.
It's not unwatchable, just not engaging or compelling.

I still think Hugh Jackman makes a good Wolverine, if a little less feisty than the comic version, and he's clearly enthusiastic about the whole thing, but he is not being given (or will likely ever be given) the proper vehicle. And don't even ask about Deadpool or the completely unnecessary Blob-Logan faceoff, or the feeling that Will.I.Am was gonna bust out the Peas or his holographic communicator to save the day. Honestly, I don't regret watching it and as long as you're not going in with expectations there are no surprises. Phillip French of the UK Observer says, "It's dull, bone-crushing, special-effects stuff, of interest only to hardcore fans who've probably read it all in Marvel comics." I'm gonna call Phil out on that last point. I'm not even a hardcore fan and the unnecessary changes were just silly moves. I wasn't asking for because I wasn't expecting loyalty to the confused web of wackiness that is the X-verse; I doubt anybody was. But nobody could have "read it all," as in all the silliness that was in there, and French is just indulging in his genre prejudices.

But Gambit sucked. Hard. And he's so not supposed to.

Wednesday, May 13, 2009

Here's a good question:


NYMag's Vulture blog asks: "Does the world really need a No Doubt Comeback"?

Why go back? It's not like anyone is demanding that she write any more songs about her relationship with bassist Tony Kamal.

Which is a good point. From what I can tell, it's more a reunion tour than a comeback; efforts to record new material have failed, though according to publicist, it can't be a reunion tour if the band never broke up. But the nostalgia-fueled ticket sales smack of reunion tour, and the awkward imaging to introduce kids who came of age during the Gwen solo years makes it clear that the band might as well have disbanded. When No Doubt made it big, the band was never not about Gwen's headlining the group, but now anything No Doubt puts out will have to struggle not to be Gwen, and then the other guys, and the kids and the Bush guy, even music-wise, I think, if only to attend to a demand. Still, ticket sales are fantastic, and you could never fault them for bad taste: Janelle Monae will be opening for the group's NY shows.

Um. And I want her shirt. The pants can go away.

Sunday, May 10, 2009

The American Presidency Project

I just came across this resource in what was ultimately a failed bid to compare Iqbal and LBJ. But now I know about this site! You can search presidential documents and speeches, like LBJ's "Remarks At a Dinner Meeting of the Texas Electric Cooperatives, Inc.":

So we must be ready to fight in Viet-Nam, but the ultimate victory will depend upon the hearts and the minds of the people who actually live out there. By helping to bring them hope and electricity you are also striking a very important blow for the cause of freedom throughout the world.

It's easy to be dismissive of the policy and situation in Vietnam, and of LBJ-- whose one wish was to be remembered for his Great Society program-- but it's another thing to take a good long look at the history, as well as the history being written, and to have the opportunity to be able to read the documents and understand the context of the times, which is why this archive is such a great resource.

You can look at Executive Orders from as far back as John Quincy Adams, read party platforms dating back to the 1840s, watch and listen to the presidents including FDR's Fireside Chats, and look at charts of speech lengths; check out the Inaugural Speech Length chart, and be sure to squint and see where the chart peaks in 1841. Yup, the longest speech, clocking in at two hours to read on a very rainy wet day in March, was given by poor "Tippecanoe and Tyler Too" William Henry Harrison, who died after one month in office. You can read about what Harrison covered in his speech here.

The only downfall is that it is fairly hard to search documents, or at least not self-evident. The search function is the ity-bity magnifying glass in the upper left, and the text of the documents do not appear to be easily searchable themselves (or at least I had to find the LBJ speech by the title, rather than through the text.) But browsing through the site is a lot of fun, and as there is so much information (86129 documents) including up-to-date numbers all the way through Obama, I suspect it will take them a little bit of time to streamline the functions. Hopefully that will mean being able to easily click on a President's name and view all his data, documents, etc.

Sunday, May 03, 2009

Lights Out Green Day + Foxboro Hot Tubs + the Network


Well color me sheepish. (Sorry, that is such a douchey thing to say.) Turns out Green Day is coming out with their 8th album in the next few weeks and I had no idea they were doing anything besides sorta pretending to be another band and making a musical-- they are, in the words of Billie Joe, "a bit more fruity than the Clash."

You probably all know this already, but here's the rundown. It will be another big ole concept rock opera album, following the story of a couple, Christian and Gloria, while they cope with a post-Bush America. Reviews so far are positive, and Rolling Stone says that it "makes [American] Idiot seem like a warmup."

I'm actually listening to some of their older stuff right now, and while I do miss that old sound, I'm glad we're able to say that Green Day is still good. While the stuff has been of a different breed, they have maintained their energy and musicianship, and those combine to make even familiar riffs and sentiments feel fresh and fun. Like everyone in the world except teeny-boppers, I got sick of hearing the American Idiot singles over and over again, but enough time has passed that I have started listening to that album again with fresh ears and the ability to really sit down and digest what's going on- not just the politics, which are predictable and will likely be again on this new release, but the pathos of the story and music. So the few years that have passed in between album releases was a smart move. If Green Day had just thrown this album out two years after Idiot, I really wouldn't have paid any attention to it. At this point, I'm excited to see what they have to offer.



I've heard two songs at this point from the new release, which will drop in mid-May. "Know Your Enemy", the first single, is catchy and anthemic, but it sounds more like one of the filler songs of that rock opera. I won't say it's boring, but it's nothing new. I will say that the video is boring; usually Green Day's vids are a lot of fun, quirky, and a pleasure to watch. This video is just Green Day playing the song. Somewhere. And then they catch on fire. But that's about it.

On the other hand, "Lights Out," also on the single release, starts with relentless drumming reminiscent of the opening of "California Uber Alles"-- and thus begs to be played quite loudly--then progresses into a song that references earlier Green Day within the framework of the big lush punk pop sensibility that now defines their sound. I'll admit that this sample has me more fired up for this release than the Rancid release. While my criticism for "Know Your Enemy" and "Last One to Die" is along the same lines-- nothing new-- Green Day at least makes sure it doesn't allow "nothing new" (for the band) to also be "nothing special" (in general), whereas "Last One to Die" is Rancid at their blandest. (I still have hope, though.)

Also, the new album will include 4 bonus covers of Social D, the Who, Bob Dylan, and Elvis. Awesome.

Here, is "Lights Out" off the "Know Your Enemy" single. Also, the Blanche-esque "Red Tide" from the Foxboro Hot Tubs release. And how about a Network track? (Because I love how he says "La Jolla?") [You can also preview the tracks on Divshare.]

 

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