A relaively disjointed review of the new Wavves album I did for Craccum. Guess thats what happens when you try to be clever in every single paragraph...
http://craccum.co.nz/?p=3647
Wavves
King of the Beach
Fat Possum
Remember how good Nevermind was until you found out about the whole emo Nirvana thing? Remember how typical 90s production and lyrical vagueness imprinted each song in your consciousness? King of the Beach provides a similar experience. Sonically, the comparability is limited to pop power choruses with a predominant low-fi, surf-rock ethic, however the albums are equal in spirit.
Opener “King of the Beach” bursts in with a huge riff that the album is riddled with. Nathan Williams’ recent public breakdowns have done nothing to dent his outspoken, confrontational style, with lyrics oozing rebellion. Most exemplary is “Idiot” on which he screams “I won’t ever die, I’m a hero in my mind.”
With former Jay Retard band members entering into the fray, the production is enhanced from his ‘take it or leave it’ basement style recordings of earlier albums, yet the chest thumping power chords which landmarked early singles like “So Bored” and “No Hope Kids” are retained. New additions to the song-writing mix include Beach Boys melodies (see “Baby Say Goodbye”) as well as a hint of Animal Collective in “Mickey Mouse.”
In an album littered with highlights, the summit is reached with the trio of “Post Acid,” “Idiot” and “Green Eyes.” “Post Acid,” the first single, is two minutes of low-fi glory, while “Idiot” allows Williams to address and ultimately ignore his critics. Next up is the gorgeous love song “Green Eyes” which covers not only an ode to a crush, but also an expression of mutiny to everyone else.
King of the Beach may not break new ground but it’s certainly one of the stronger albums of the year. Although “all his friends hate his guts,” Williams doesn’t “give a fuck,” with his love of the riff and pop dynamics conquering any haters out there.
Williams admits he’s an idiot, but his low-fi revolt and simple pop song-writing makes King of the Beach the epitome of expressive idiocy.
4/5
Too dumb to fuck
- Alaister Mughan
Life In One Chord
Friday, August 20, 2010
Wednesday, August 11, 2010
Shane MacGowan - The Pogues
"I'm just following the Irish tradition of songwriting, the Irish way of life, the human way of life. Cram as much pleasure into life, and rail against the pain you have to suffer as a result. Or scream and rant with the pain, and wait for it to be taken away with beautiful pleasure"
"I'm just following the Irish tradition of songwriting, the Irish way of life, the human way of life. Cram as much pleasure into life, and rail against the pain you have to suffer as a result. Or scream and rant with the pain, and wait for it to be taken away with beautiful pleasure"
Monday, August 9, 2010
Don DeLillo on Self Loathing
Mondays aren't usually the greatest. Trust Don DeLillo to be capable of explaining the value of self-pity:
“Whenever I’m upset over something, I imagine all my friends, relatives and colleagues gathered at my bier. They are very, very sorry they weren’t nicer to me while I lived. Self-pity is something I’ve worked every hard to maintain. Why abandon it just because you grow up? Self-pity is something that children are very good at, which must mean it is natural and important. Imagining yourself dead in the cheapest, sleaziest, most satisfying form of childish self-pity. How sad and remorseful and guilty all those people are, standing by your great bronze coffin. They can’t even look each other in the eye because they know that the death of this decent and compassionate man is the result of a conspiracy they al took part in. The coffin is banked with flowers and lined with a napped fabric in salmon or peach. What wonderful cross-currents of self-pity and self-esteem you are able to wallow in, seeing yourself laid out in a dark suit and tie, looking tanned, fit and rested, as they say presidents are after vacations. But there is something even more childish and satisfying than self-pity, something that explains why I try to see myself dead on a regular basis, a great fellow surrounded by snivelling mournerers. It is my way of punishing people for thinking their own lives are more important than mine”
pg216 White Noise – Don Delillo
“Whenever I’m upset over something, I imagine all my friends, relatives and colleagues gathered at my bier. They are very, very sorry they weren’t nicer to me while I lived. Self-pity is something I’ve worked every hard to maintain. Why abandon it just because you grow up? Self-pity is something that children are very good at, which must mean it is natural and important. Imagining yourself dead in the cheapest, sleaziest, most satisfying form of childish self-pity. How sad and remorseful and guilty all those people are, standing by your great bronze coffin. They can’t even look each other in the eye because they know that the death of this decent and compassionate man is the result of a conspiracy they al took part in. The coffin is banked with flowers and lined with a napped fabric in salmon or peach. What wonderful cross-currents of self-pity and self-esteem you are able to wallow in, seeing yourself laid out in a dark suit and tie, looking tanned, fit and rested, as they say presidents are after vacations. But there is something even more childish and satisfying than self-pity, something that explains why I try to see myself dead on a regular basis, a great fellow surrounded by snivelling mournerers. It is my way of punishing people for thinking their own lives are more important than mine”
pg216 White Noise – Don Delillo
Friday, August 6, 2010
I Liked You When You Where Weird
Apparently Kings of Leon have annoucned a new album to come out soon. Now there are converted to filling in the easy listening Bryan Adams-lite mass 'rock' market scene - its probably best avoided - unless you need to shift some units to the 8+ male/female consumer demographic
Anyway found a clip of the boys from back in the day, where they still sung about booze and girls but sorta actually meant it. Of one of there early Ep's California Waiting has pop-rocks chorus, but its edgy delivery and the sheer strangeness of the bands alt-rock/hillbilly persona made it something special...remember these guys? - when they used to have these haircuts - rather than Calsberg advert cut out costume..
Anyway found a clip of the boys from back in the day, where they still sung about booze and girls but sorta actually meant it. Of one of there early Ep's California Waiting has pop-rocks chorus, but its edgy delivery and the sheer strangeness of the bands alt-rock/hillbilly persona made it something special...remember these guys? - when they used to have these haircuts - rather than Calsberg advert cut out costume..
Wednesday, August 4, 2010
Presence
A magazine a do a little writing for - Presence - has just gone to the printers for its latest issue. If your bored check it out online at http://www.presencemagazine.co.nz/ - you can view pdfs of the past issue - of which I did a few reviews - and keep a look out for it around Auckland!!
The Minties
This is an unpublished review I wrote a while back for Craccum. Additionally "Say Goodbye" has recently been announced as a nominee for the Silver Scrolls soundwriting awards - lets hope Dane Rumble loses out to this one...
The noticeable feature of Bad Buzz is that it isn’t actually an EP! The Mint Chicks have replaced the CD with a beautifully designed USB stick. Whether or not this innovation will eventuate beyond being a good looking gimmick is debatable. However their new 60’s sound is definitively more enduring.
The Mint Chicks have always advocated their 60’s influence, which becomes evident on Bad Buzz. The first two tracks feature the vintage keys and lyrical content harking back to 60’s pop group The Zombies.
Nevertheless a prospective focus is forged throughout. Consider the twin pop prowess of “Bad Buzz” and “Say Goodbye”. The delicate keys and song structures are soon broken up by instrumental breakdowns and the welcome return of Michael Logie’s thumping bass.
The rhyme section is more appreciable than on Screens explaining the bands recent double-drum live set up. Additionally the Brian Eno-ish escapades in Screens are filtered into the mix, prominent in the EP’s feature-piece “You’ve Got Spray Paint In Your Third Eye”.
The Minites haven’t written a song this downright epic since “Opium of the People.” Ruben Nielsen’s guitars screeches out of a throbbing rhythm section, while Kody’s hopeful vocals lulls you along to an erotic sing-along chorus, despite its typically obscure lyrics. The effecting sound-scapes return before minimal bleeping creeps the song to its conclusion, leaving you gasping for more.
The Mint Chicks prove yet again why they are New Zealand most respected underground act, managing to refresh their sound yet retaining their distinctly ‘Minty’ core.
The noticeable feature of Bad Buzz is that it isn’t actually an EP! The Mint Chicks have replaced the CD with a beautifully designed USB stick. Whether or not this innovation will eventuate beyond being a good looking gimmick is debatable. However their new 60’s sound is definitively more enduring.
The Mint Chicks have always advocated their 60’s influence, which becomes evident on Bad Buzz. The first two tracks feature the vintage keys and lyrical content harking back to 60’s pop group The Zombies.
Nevertheless a prospective focus is forged throughout. Consider the twin pop prowess of “Bad Buzz” and “Say Goodbye”. The delicate keys and song structures are soon broken up by instrumental breakdowns and the welcome return of Michael Logie’s thumping bass.
The rhyme section is more appreciable than on Screens explaining the bands recent double-drum live set up. Additionally the Brian Eno-ish escapades in Screens are filtered into the mix, prominent in the EP’s feature-piece “You’ve Got Spray Paint In Your Third Eye”.
The Minites haven’t written a song this downright epic since “Opium of the People.” Ruben Nielsen’s guitars screeches out of a throbbing rhythm section, while Kody’s hopeful vocals lulls you along to an erotic sing-along chorus, despite its typically obscure lyrics. The effecting sound-scapes return before minimal bleeping creeps the song to its conclusion, leaving you gasping for more.
The Mint Chicks prove yet again why they are New Zealand most respected underground act, managing to refresh their sound yet retaining their distinctly ‘Minty’ core.
Saturday, July 31, 2010
I Can Drive Your Car
This is a 2007 single - from Grovesnor a solo project of former Hot Chip drummer Rob Smoughton. "Drive Your Car" is a sutiably mellow low-key Sunday afternoon dance tune.
Soncially Grovesnor is really similar to Hot Chips first album "Coming on Strong" with its soulful vocals, minimal sonic background and RnB influence , indeed one of their songs was titled 'Down with Prince".
Smoughton certainly has it 'down' on this tracking echoing his apparent mentor with this soulful crooning little number. His project's laid back pop vibe swoons in the listener casually, seducing entry into your memory and vocal chords before you even know it...
Soncially Grovesnor is really similar to Hot Chips first album "Coming on Strong" with its soulful vocals, minimal sonic background and RnB influence , indeed one of their songs was titled 'Down with Prince".
Smoughton certainly has it 'down' on this tracking echoing his apparent mentor with this soulful crooning little number. His project's laid back pop vibe swoons in the listener casually, seducing entry into your memory and vocal chords before you even know it...
Monday, July 26, 2010
Grayson Gilmour
My favourable verdict on the new Grayson Gilmour album - cheers for the free copy Craccum/Flying Nun...
http://craccum.co.nz/?p=2929
http://craccum.co.nz/?p=2929
THE Prince
When you have a back catalogue like Prince picking his 'best' track is simpy futile. But needless to say this cut is brillant. Its opening keys are simply delirous and danceable, swaying into the chorus, where Prince uses his guitar and vocal sheen to launch bubblegum pop gem of a hook. The hook is so infectious that it allows you to dance and yearn in heartbreak at the same time..Its sorta what he does when he wants to..
Thursday, July 22, 2010
Team Dynamite!!
Yesterday I had to go to the Red Bull Sessions in Freemans Bay to write an article for a friends Magazine (Presence - check it out online - on my about me section). The group playing where 'Team Dynamite" who I had never heard of. But what a pleasent surprise. The hip-hop quartet where a pleasure to listen to. While its often easy to rave on about the 'unheard' indie rock bands in Auckland's, underground, its often easy to forget the good hop hip groups out there who are doing it solely for the music, and doing it well. Lets just say Midnight Youth are to Die! Die! Die! what Young Sid is to David Dallas, or Homebrew. Now add Team Dynamite to the list.
As they stated on Myspace they liken themselves to “what Milo and Ottis would sound like if they could flow.” This comes out in the group’s work which don’t sound deliberately created, but rather stumbled upon whilst pursuing some daily adventure. Their laid back jazzy beats, and MC delivery has reminiscent of early ‘A Tribe Called Quest’, if ‘A Tribe Called Quest’ came from Mount Albert with a mischievous sense of fun.
Check out Pe-Knuckle - or download their demo album available free via their website - I dare you not to rap along!
As they stated on Myspace they liken themselves to “what Milo and Ottis would sound like if they could flow.” This comes out in the group’s work which don’t sound deliberately created, but rather stumbled upon whilst pursuing some daily adventure. Their laid back jazzy beats, and MC delivery has reminiscent of early ‘A Tribe Called Quest’, if ‘A Tribe Called Quest’ came from Mount Albert with a mischievous sense of fun.
Check out Pe-Knuckle - or download their demo album available free via their website - I dare you not to rap along!
Tuesday, July 20, 2010
PAVEMENT
I've been to a few good live gigs this year, but by far the best was Pavement. At the Auckland Town Hall, they simply stripped back the years, and charmed the damm pants of simply every person in attendance. Being able to see the band reform for their first show in ten years, was beyond a pleasure.
The clip is a great quality clip of their opening, and one of my favourite tracks of all time - "In the Mouth of a Desert". Pavement are simply the kings of low-fi guitar pop.
The begins with a guitar meldy which opens up the can of lo-fi pop brilliance (intro not in this clip). Then Stephen Malkmus opens up the songs brilliant abstract lyrical adventure. His delivery is so effective as it retains tenderness despite its often detached and sarcastic lyrics and vocals. The rhythm complements this perfectly with the drum beat sounds like a 4 year old in control, while the bass simply thumps its way into your chest, before it all builds up into a glorious mess of a chorus.
The other two clips are attached simply because one Pavement song is never never enough - when your in the mood (like im in today) they simply snatch your attention and demand to be admired. Consider 'Box Elder" whose cutey scratchy guitar simply tugs you in - before refraining 'Cause I've decide to make a stand, And I'm not gonna take your hand, I`m taking the next bus outta here, I`m gonna head for Box Elder, M.O" which becomes impossible not to sing along on repetitious listening.
Next up is Frontwards which cascades between the bands trademark tenderness and low-fi guitar screeches. Suitably it sums up the band who really do "own style for miles and miles".
No one has summed up the power of Pavement better than esteemed journalist Everett True who said: "If this section of the book was like an early Pavement song , there would be precious few tangible points of reference. Everything would be a fog of confusion. There would be plenty of strange and intriguing interruptions, a handful of tangents and quotes that might or might not reveal something, and a little humour. If this section was like Pavement, it would be self-effacing yet quietly confident. It would rock. There would be plenty of mystery, much seriousness and not a little intelligence. The words would flow not for the sake of meaning, but for the sake of sound. Tunes would be at a premium, noise levels too. It would roll and sway and rumble along merrily under its own steam. But writing about Pavement is like skiing with marshmallows" - Oh well least I tried...
The clip is a great quality clip of their opening, and one of my favourite tracks of all time - "In the Mouth of a Desert". Pavement are simply the kings of low-fi guitar pop.
The begins with a guitar meldy which opens up the can of lo-fi pop brilliance (intro not in this clip). Then Stephen Malkmus opens up the songs brilliant abstract lyrical adventure. His delivery is so effective as it retains tenderness despite its often detached and sarcastic lyrics and vocals. The rhythm complements this perfectly with the drum beat sounds like a 4 year old in control, while the bass simply thumps its way into your chest, before it all builds up into a glorious mess of a chorus.
The other two clips are attached simply because one Pavement song is never never enough - when your in the mood (like im in today) they simply snatch your attention and demand to be admired. Consider 'Box Elder" whose cutey scratchy guitar simply tugs you in - before refraining 'Cause I've decide to make a stand, And I'm not gonna take your hand, I`m taking the next bus outta here, I`m gonna head for Box Elder, M.O" which becomes impossible not to sing along on repetitious listening.
Next up is Frontwards which cascades between the bands trademark tenderness and low-fi guitar screeches. Suitably it sums up the band who really do "own style for miles and miles".
No one has summed up the power of Pavement better than esteemed journalist Everett True who said: "If this section of the book was like an early Pavement song , there would be precious few tangible points of reference. Everything would be a fog of confusion. There would be plenty of strange and intriguing interruptions, a handful of tangents and quotes that might or might not reveal something, and a little humour. If this section was like Pavement, it would be self-effacing yet quietly confident. It would rock. There would be plenty of mystery, much seriousness and not a little intelligence. The words would flow not for the sake of meaning, but for the sake of sound. Tunes would be at a premium, noise levels too. It would roll and sway and rumble along merrily under its own steam. But writing about Pavement is like skiing with marshmallows" - Oh well least I tried...
Thursday, July 15, 2010
The National
With High Violent The National have cemented their spot on the throne of the 00's indie rock scene. This clips is off their debut self-titled album, which although inconsistent does contain some of my favorites of the band. In particular is "Pay for Me" which is one of my favourite travelling songs - just for the verse "bottle from the duty-free, I'll drink it all across the sea, lay me down business class,
headphones and a sleeping mask" which is just brilliant.
Compared to their later work, Pay for Me is minimal in arrangement, relying on sharp guitar riffs, and Matt Berninger's emotive vocals. This level of simplicity makes the delivery so urgent and gripping. Personally I've always enjoyed the National at their gritty, desperate straightforward best...
Wednesday, July 14, 2010
Alex Chilton
By the age of 17 Chilton had already conquorued the art of pop song writing - writing numerous hits including "The Letter" for the group the Box Tops. Next up was Big Star, who virtually invented the genre of janley gutiar pop. After reaching the heights of pop rock guitar writing - Chilton did the only thing that was natural to him - creating pop songs, whlist simultatnely trying to destroy them - all in the same song.
My favoutire cut of Chiltons's solo career has to be this suberb cover of the Seeds "Can't Seem to Make You Mine". Hearing Chilons , Elvis like yelps at the end of each line, strangely fits in with the desperatness of his vocals. As per usual Chiltons vocals manages to overshadow everything, even the clangy garage guitars, which finally work enough steam overtake his vocals to end the song.
Chiltons delivery of this classic hit represents a Chiltons classic strut of unstablility and desperation. His spits out the classic lines "Flying around likes a bee, hurtin everything you see", before yelping out the classic chorus "Can't you see what you're doin to me, You fill my heart with misery, In every breath and step I take, I'm more in love with you" Before another redition of the chorus to end, Chiltons vocal in the breakdown drop to a whisper "girl I wanna love you tonight"
What this song demonstrates is the importance of danger and unstability to vocal delivery. This song has been covered by many (including the Ramones) but Chilton simply owns it. As someone once said “When Paul Westerberg stands behind the mike there’s danger. And when Tom Petty stands behind the mike, you’re safe". Westerberg (from the brillant band the Replacements) a self confessed Chilton follower - can easily be swapped for Chilton in the above statement...
My favoutire cut of Chiltons's solo career has to be this suberb cover of the Seeds "Can't Seem to Make You Mine". Hearing Chilons , Elvis like yelps at the end of each line, strangely fits in with the desperatness of his vocals. As per usual Chiltons vocals manages to overshadow everything, even the clangy garage guitars, which finally work enough steam overtake his vocals to end the song.
Chiltons delivery of this classic hit represents a Chiltons classic strut of unstablility and desperation. His spits out the classic lines "Flying around likes a bee, hurtin everything you see", before yelping out the classic chorus "Can't you see what you're doin to me, You fill my heart with misery, In every breath and step I take, I'm more in love with you" Before another redition of the chorus to end, Chiltons vocal in the breakdown drop to a whisper "girl I wanna love you tonight"
What this song demonstrates is the importance of danger and unstability to vocal delivery. This song has been covered by many (including the Ramones) but Chilton simply owns it. As someone once said “When Paul Westerberg stands behind the mike there’s danger. And when Tom Petty stands behind the mike, you’re safe". Westerberg (from the brillant band the Replacements) a self confessed Chilton follower - can easily be swapped for Chilton in the above statement...
Friday, July 9, 2010
Going Home - Jakob Nice Day for an Earthquake
I decided to go back home to Hastings for a few days. For me on band always truly reminds me of home - Jakob.
A post-rock band ala Mogwai, but much much more consistent in quality, Jakob have always been a huge influence on me. For such an experimental and quality to come from a place where most bands usually sound like a mix between Blink 182 teen punk and the Bleeders, or bad Ben Harper/John Mayer folk rip-offs is extraordinary.
Secondly Jakob's memorising soundscapes, also manage to do what seldom few bands can, actually capture the feeling of a region. Like Kyuss capture the Desert rock of Califonrornia, or Joy Division capture the gloominess of industrial Manchester, Jakobs sounds immerse themselves in isolated, natural beauty of the Bay.
NO better representation of this than is "Nice Day for an Earthquake" probably my favourite song ever a times. The comforting basslines eases, in while guitars swirl overhead, creating weirdly comforting tension, before a huge violent breakdown.
The video is also something special, showcasing the wonderful Te Mata Peak, outside Hastings, really close to where i went to school. Contrasting this with the person sitting up and then ultimately destructing (in true Bay fashion - with an axe) is something really cool. I couldn't sum it up better than Kuechenkraft's comment on youtube:
"Look at the beauty around the person sitting on the chair. It's overwhelming. He doesn't recognize the beauty of life in general though but is literally absorbed by the TV, which may stand for anything that abstracts us from life's "true purpose"... When he smashes it, he's relieved from the distraction. The camera pans to the sky. You see it's simple beauty that's to be seen around the world. Anyone may do the same. Beauty's everywhere!"
A post-rock band ala Mogwai, but much much more consistent in quality, Jakob have always been a huge influence on me. For such an experimental and quality to come from a place where most bands usually sound like a mix between Blink 182 teen punk and the Bleeders, or bad Ben Harper/John Mayer folk rip-offs is extraordinary.
Secondly Jakob's memorising soundscapes, also manage to do what seldom few bands can, actually capture the feeling of a region. Like Kyuss capture the Desert rock of Califonrornia, or Joy Division capture the gloominess of industrial Manchester, Jakobs sounds immerse themselves in isolated, natural beauty of the Bay.
NO better representation of this than is "Nice Day for an Earthquake" probably my favourite song ever a times. The comforting basslines eases, in while guitars swirl overhead, creating weirdly comforting tension, before a huge violent breakdown.
The video is also something special, showcasing the wonderful Te Mata Peak, outside Hastings, really close to where i went to school. Contrasting this with the person sitting up and then ultimately destructing (in true Bay fashion - with an axe) is something really cool. I couldn't sum it up better than Kuechenkraft's comment on youtube:
"Look at the beauty around the person sitting on the chair. It's overwhelming. He doesn't recognize the beauty of life in general though but is literally absorbed by the TV, which may stand for anything that abstracts us from life's "true purpose"... When he smashes it, he's relieved from the distraction. The camera pans to the sky. You see it's simple beauty that's to be seen around the world. Anyone may do the same. Beauty's everywhere!"
Wednesday, June 30, 2010
Wavves - New Music
According to the 'kings of what is indie' Pitchfork - Wavves new album comes out tomorrow on itunes.
The album is streaming online at the moment, and sounds incredible!
Their first album was a huge hit, with its extremly lo-fi surf guitar pop songs. It's a really great listen - I actually remeber the first time I listend to it was while waiting at lauramat, terribly hung over, eating pineapple lumps and drinking cheap grape soda. It some sorta lame segway - that way the album sounds like - a dizzying poppy sugar high, mixed with part nausena, tiredness and boredom.
Nathan Williams the main man behind Waaves recently stated that he didn't want to make the same album twice. And he has clearly done that with a move away from the basement-style low-fi recordings, to something a bit more approacable. From first listen the band have definately been able to keep their solid core, without falling into the "Interpol Trap" of making albums with the same style on numerous occassions. Indeed the addition of member of Jay Retards (RIP) band have definately lifted the sound from the basement doddling of a solo project to a slighlty more expasive feel.
Green Eyes is one of many favourites so far - its simple opening riff and adorable opeing lines "Green Eyes i'll run away with you" "Green eyes cause i'm a fool" I tried running away i'm just not fast enough i'm just not fast enough - before launching into a huge sound bombardment with a driving guitar line - through the contrasting hook "my own friends hate my guts..but i don't give a shit". If you like guitar pop, YOU will love this...
Listen below - and keep an eye out for the album "King of the beach"
The album is streaming online at the moment, and sounds incredible!
Their first album was a huge hit, with its extremly lo-fi surf guitar pop songs. It's a really great listen - I actually remeber the first time I listend to it was while waiting at lauramat, terribly hung over, eating pineapple lumps and drinking cheap grape soda. It some sorta lame segway - that way the album sounds like - a dizzying poppy sugar high, mixed with part nausena, tiredness and boredom.
Nathan Williams the main man behind Waaves recently stated that he didn't want to make the same album twice. And he has clearly done that with a move away from the basement-style low-fi recordings, to something a bit more approacable. From first listen the band have definately been able to keep their solid core, without falling into the "Interpol Trap" of making albums with the same style on numerous occassions. Indeed the addition of member of Jay Retards (RIP) band have definately lifted the sound from the basement doddling of a solo project to a slighlty more expasive feel.
Green Eyes is one of many favourites so far - its simple opening riff and adorable opeing lines "Green Eyes i'll run away with you" "Green eyes cause i'm a fool" I tried running away i'm just not fast enough i'm just not fast enough - before launching into a huge sound bombardment with a driving guitar line - through the contrasting hook "my own friends hate my guts..but i don't give a shit". If you like guitar pop, YOU will love this...
Listen below - and keep an eye out for the album "King of the beach"
Tuesday, June 22, 2010
JAPANDROIDS!!!!
From one extreme to another - that Japandroids are definately one of the best of the last year. A two piece packed full of energy, huge, riffs and shouty vocals. Their songs usually concern soley the pursuit of youth - girls, fun and the consequences.
Wet Hair - is off their fanstatic debt album - Post Nothing. A song of lust, fun and noise - enjoy
Leonard Cohen - Dress Rehersal Rags
Simply put Cohen in unprecendented in terms of pure songwriting. A literal, rather than figurative muscial poet - his album "Songs of Love and Hate" is Cohen at this darkest. For shear rawness, and honesty this is my favourite Cohen song.
I've been listening to this album a lot recently - at Dress Rehersal Rags is my favourite cut. Its an incredibly dark and scathing songs, where Cohen uses he lyrical prowess to attack himself. Indeed as Cohen states in this incredible live redition he only sings its "were the landscape can support the dispair he projects into it"
As an expression of dispair, lyrically and soncially its unpredented. Cohen wraps up the feeling of depression, guilt and self loathing by asking himself first "where are you golden boy wheres your famous golden touch" and observing "a funeral in the mirror which is stopping at your face"
This only seems to emanspiate his feelings of depression and he harasses himself - "yes its comes to this, and wasn't it a long way down." Nothing is free from is scorne even his own artistic work - where using the metaphor of razors and shaving cream he describes his lathered face as making appear as "santa clause, whos got a gift, for anyone who gives him applause" and ponders the opportunity to "get a job". Hope is now lost "Once there was a path and a girl with chestnut hair".
The final verse is most telling after Cohens - carthsis of guilt, depression and despair - it seems like the narrator never in facts carries out his fanciul attempt to use the razor. Rather "and then the cameras pan, the stand in stunt man, the dress rehersal rag" where Cohen expresses guilt at his own thinking and self pity. A masterpiece of song writing and an incredible skilled and subtle expression of a very dark experince - or what Winston Churchill would call "his black dog"
I've been listening to this album a lot recently - at Dress Rehersal Rags is my favourite cut. Its an incredibly dark and scathing songs, where Cohen uses he lyrical prowess to attack himself. Indeed as Cohen states in this incredible live redition he only sings its "were the landscape can support the dispair he projects into it"
As an expression of dispair, lyrically and soncially its unpredented. Cohen wraps up the feeling of depression, guilt and self loathing by asking himself first "where are you golden boy wheres your famous golden touch" and observing "a funeral in the mirror which is stopping at your face"
This only seems to emanspiate his feelings of depression and he harasses himself - "yes its comes to this, and wasn't it a long way down." Nothing is free from is scorne even his own artistic work - where using the metaphor of razors and shaving cream he describes his lathered face as making appear as "santa clause, whos got a gift, for anyone who gives him applause" and ponders the opportunity to "get a job". Hope is now lost "Once there was a path and a girl with chestnut hair".
The final verse is most telling after Cohens - carthsis of guilt, depression and despair - it seems like the narrator never in facts carries out his fanciul attempt to use the razor. Rather "and then the cameras pan, the stand in stunt man, the dress rehersal rag" where Cohen expresses guilt at his own thinking and self pity. A masterpiece of song writing and an incredible skilled and subtle expression of a very dark experince - or what Winston Churchill would call "his black dog"
Saturday, June 19, 2010
It Begins
I like loud guitars that sound blurry.
The Straitjacket Fits were my first realy 'guitar' band per se that I really followed. It all began when I purchased their self-titled greatest hits for a xmas present for my sister. Subsequently after further listening I decided to gift the album to myself rather than my sister which started my obsession with the band - as well as further incidents of poor graturity.
More importantly -this song is a Flying Nun staple. One could label Carter as the 'Johnny Rotton' to Chris Knox as 'Iggy' in terms of the punk/Flying Nun scene of the eighties in NZ.
The song its splattered with highlights: Shayne Carters - sneering vocals, the chrisp Jesus and Mary Chain guitars and pulsating bass line all combine to form a unrelenting mix. The guitars are constanly chiming, assisting Cartner's sneers in the verses. No loud quiet loud approach, everything is kept LOUD LOUD. Lyrically Carters cyanism and agnst is typically in your face. Whether its in the beginning
"theres hawks on our shoulders more ciculing lower, we're letting them peck at the back of our necks, what more could we want?"
Or latter with when Carter spits out: "Plip plop, drip drop The tap drips on my heat rot...So much to tend to that nothings getting done"
and my favourite - some warped Leonard Cohen-esque commentary (whom the band also cover on the Hail LP) - "Pushing and jabbing, the mouths that are stabbing, The Lines of Lost lovers, What more could we want?"
Additionally the way song jams out to an ending really gives it an organic quality, despite the preceding verse chorus verse structure.
It's really a - 'says and means nothing - but actually says and expresses everything' sorta song and exists as a physical record of how bad ass Shanye Carter really is. As a critic for Melody Maker once said "Straitjacket Fits are the weirdest guitar band in the world, they are also the best!"
The Straitjacket Fits were my first realy 'guitar' band per se that I really followed. It all began when I purchased their self-titled greatest hits for a xmas present for my sister. Subsequently after further listening I decided to gift the album to myself rather than my sister which started my obsession with the band - as well as further incidents of poor graturity.
More importantly -this song is a Flying Nun staple. One could label Carter as the 'Johnny Rotton' to Chris Knox as 'Iggy' in terms of the punk/Flying Nun scene of the eighties in NZ.
The song its splattered with highlights: Shayne Carters - sneering vocals, the chrisp Jesus and Mary Chain guitars and pulsating bass line all combine to form a unrelenting mix. The guitars are constanly chiming, assisting Cartner's sneers in the verses. No loud quiet loud approach, everything is kept LOUD LOUD. Lyrically Carters cyanism and agnst is typically in your face. Whether its in the beginning
"theres hawks on our shoulders more ciculing lower, we're letting them peck at the back of our necks, what more could we want?"
Or latter with when Carter spits out: "Plip plop, drip drop The tap drips on my heat rot...So much to tend to that nothings getting done"
and my favourite - some warped Leonard Cohen-esque commentary (whom the band also cover on the Hail LP) - "Pushing and jabbing, the mouths that are stabbing, The Lines of Lost lovers, What more could we want?"
Additionally the way song jams out to an ending really gives it an organic quality, despite the preceding verse chorus verse structure.
It's really a - 'says and means nothing - but actually says and expresses everything' sorta song and exists as a physical record of how bad ass Shanye Carter really is. As a critic for Melody Maker once said "Straitjacket Fits are the weirdest guitar band in the world, they are also the best!"
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