"Everything"

This track has been on heavy rotation. I found this album at a time when my world was crumbling. Even though it's a powerful album for empowering women; I find it to be evocative and thought provoking, and I certainly made an emotional connection to it. You throw some cello into a track, and you have my attention... a total sucker for it. "Man", ironically titled given the message throughout the disc, was Neneh's third full-length, though it's domestic U.S. release either never happened, or was years delayed. She had already been written off in The States. Ridiculous timing, because as her light faded, her production team and her home town were about to strike hard at the throats of the American music scene and set it on it's ear. Go!Discs unleasehed fellow peers Portishead and Tricky, and dumped introduced trip hop to the masses. A scene that had already taken hold in the U.K., many of the acts emerging from the bleak, industrial wasteland of the town of Portishead. It was a melange of the youthful disenchantment that was the Seattle/X-Gen scene, and the underbelly of an acid generation that preferred glowsticks to plaid. It unleashed a new wave of brit-pop influence, and the acid/psychedelic culture evolved with many sounds, trip hop certainly included amongst them. It also began to shape the NY hip-hop scene, bringing in samples other than jazz.. alumni such as Beastie Boys and Moby certainly took notice and ran with it.

"Man" is a severing of expectation and being a slave to the music industry. Thrown to the wolves, and unfairly criticised on a professional and personal level, Neneh chose a measure of seclusion to focus on her family. And emerged with renewed strength, angst, and self-worth. She speaks so eloquently about love and hurt; about passion and betrayal; and eqaully about the type of love that's important to one's happiness and sanity. You can't help but fall in lust with her as she describes masturbating to her own reflection, but there's nothing narcississtic about it - it's empowering. That confidence is infectious and intoxicating. At the same time, you fall in love with her because she sings so sincerely about love of family, and love of self. How easily she could be bitter and hateful, but she teaches healing and taken care of yourself... a powerful message I am attempting to embrace...



Everything, anything I see
Anything, everything I feel
Everyday anytime I know
Anything everyone has to go
Champagne lingers in my glass
The party's over
I see my reflection, sipping
And it reminds me
I'd like to see you
Having more fun
If you can
I look at you
But it's me I see
It's everything I know ( it's me I see )
It's everything I feel ( it's me I see )
It's everything and everyone around me that I see
Everything is real
Everything I feel
In my mirror
I see myself
In that mirror
Inside myself
Sometimes I feel it coming to me
Thinking of you when I'm looking at my body
I can touch myself with my own understanding
My resolution to be broken
That I see now
And it's me I see
It's everything I know ( it's me I see )
It's everything I feel ( it's me I see )
And it's everything and everyone around me that I know
Everything is real
Everything I feel
No real solutions
In clipping from the past
I see my reflection at last
Books full of pictures
Remembering the blasts
Times consequences
Makes me go fast
And it's me I see
And It's everywhere I go
It's me I see
It's everything I see ( it's me I see )
And it's everywhere I go Yeah ( it's me I see )
It's everything I feel ( it's me I see )
And it's everywhere I go ( it's me I see )
It's everything I feel ( it's me I see )
And it's everything and everyone around me that I love
Everything is real
Everything I feel

Dark Shadows?

On a whim, I checked Colonial Promenade 6 for a showing of Dark Shadows, and was quite delighted to see that my hunch was spot on. I immediately texted Stephanie and demanded she make good on our Dark Shadows rain check. "Demanded", pleaded... you know... I needed some distraction and to be away from reminders. It was her last night of freedom, so she was onboard. She was also late in typical Stephanie fashion. We made it inside about 5 minutes into the film.

I was completely taken by the movie from the onset. Michelle Pfeifer was amazing, and I was delighted to see Jackie Earle Haley continuing in the basking of his revival. I thought briefly how ironic the casting was, in a movie about returning from the grave, that he should be cast. "Let Me In"'s Chloe Grace Moretz played the role of the daughter, and her rebellious attitude counter-balanced by a free-spirited hippie culture was a bit off but somehow worked. Maybe it's something about the 70's I missed? But then, in walked whore-orange-headed Helena Bonham Carter sporting a lob...and geez - just breathtaking. Sans accent, but nonetheless a little dirty; a little trainwreck like; a whole lot of hot. Johnny Depp's character's nemesis is played by Eva Green (Kingdom Of Heaven, Golden Compass), whom I never found that stunning, but as a long-haired, blonde in this role, she is the epitome of sex appeal and utterly salacious. The movie moves along quite quickly, but there's undeveloped aspects that I wish had been better explored. Christopher Lee's role for instance... it required more depth and background. The back story of the Collins Family losing their gasp on the town and it's industry, though throughly discussed - Burton films have cut-aways and I think we deserved on. Help me buy into this fairytale, please!

As the Collins Family begin to rebuild the tatters of their reputation, the story unravels into predictability and for lack of better word, silliness. This is completely unlike a Tim Burton film, and I can't to begin to imagine what happened? The characters become 2-dimensional, and though effort is made to explore personal flaws and weaknessed, it's so superficial and carnal, that it really serves no support to the story, it does however mire it in a swamp of disinterest, disappointment, and if the director gave up - as an audience member, I give up to. Right up to the anti-climactic ending that pulls every card out of the hat of tricks (maybe it was supposed to be absurd and a jab at current movie trends)... but it was lifeless and tracing paper for what's already been done.

Okay to watch, even enjoyable to a mid-point, but if I buy this or copy this, it's too fill a Helena Bonham Carter as a redhead fix... not much else.

Broken Therapy

A weekend that de-evolved into heartbreak and a Black Heart Procession soundtrack. I decided that the day-off I planned in my head was going to be solitary and filled with the only therapy I know how to manage. Thrifting. I don't buy clothes, I buy used cds. I picked up one for someone that doesn't want anything to do with me right now, and the rest I am listing below:

Revenge Of The Flying Luttenbachers

Seriously, what in the hell is this? A 3-piece band from Chicago (I guess), and one member is pictured with football make-up and hair greased into a pair of antennae. The disc is a pentagram a la Motley Crue's, "Shout At The Devil". Of course I have to buy this freakish disc. It's dated 1996... so I wasn't sure what to expect, the Chicago music scene I knew was long dead at that point. Musically, it's a trainwreck. The opening track, Storm Of Shit is a melange of guitar, kazoos, horns, drums, and sampled sounds. Frankly, four-and-a-half minutes of it is four-and-a-half minutes too much, because Mike Patton already mastered this insanity. It does not get any better. There are no vocals apparently... I have to assume because I began skimming after the second track. Imagine my amazement to discover this band has several releases. Once again, the one disc I purchased on a whim that certainly wouldn't disappoint - is every bit a disappointment and so much more. Steer clear!

Rachmaninov: Symphony No. 2
You really can't make a mistake with this. Someone donated their entire BBC Classical Music series, and I may go back for the rest when I have the money. I am particularly drawn to Rachmaninov; of course because he is a Russian composer of whom I have an affinity, but also because of his struggles. Critically panned in his own country; his Symphony No. 1 was an utter failure, and he was forced to flee Russia during the Bolshevik Revolution and he to begin a career anew. He eventually found himself in America where he found acclaim and respect. And who wouldn't be in love with a composer who was interred in Valhalla? Seriously! This recording is conducted by Edward Downes with the BBC Philharmonic Orchestra. Appropriate mood music today.

Zero Zero: A.M. Gold

This is pretty fucking upbeat, poppy, and doesn't match my mood today. I definitely can enjoy this, though it's commercial, slick feel probably means it won't find much rotation in my collection. The electronics are danceable, and never venture into any hard beats. Vocals are gentle, fuzzy and warm. This is summer day, car trip to the lake music. And it would help to not have a care in the world, including what you were listening to. If The Faint were forced into therapy, the hospital approved sound would be Zero Zero. My favorite track is, Pink And Green - it's a little funky, and makes me want to dance with the cat and go buy some rum.

Eric Hutchinson: Sounds Like This

I like Lenny Kravitz and Jamirquai too! But seriously, this is an upbeat, body swaying disc, it just isn't my thing right now. I can see this being played in my near future. I actually know someone who would likely really love this disc, and that's contributing to a lot of my sad feelings right now. This is palletable and radio-friendly (if it isn't already), and if you like Kravitz and Jamiriquai - pick this up or borrow it from me.

Sixty-Eight Pennies: Race-Car
If I had to guess, this is likely Alternative Christian Rock. Not sure where they hail from, but if today was 1999, when this recording was released, then it would already sound dated. It's light alternative rock with elements of Live and Soul Asylum.

Boiled In Lead: Silver

Uh - had no idea what to expect. But what it is is heavy doses of world folk. Upbeat, fun, and much too safe and friendly to really enjoy on any kind of level. I'd expect to find their cds at Epcot. I found the dark, seething bass lines of The Sunset enjoyable, but there's too much fodder and friendliness throughout to keep me intrigued. Another bust...

Imogen Heap: Speak For Yourself

I honestly couldn't remember if I liked Imogen Heap or not. I took the leap because the album title spoke to me. I probably don't need to describe it; this seems like the kind of thing you either are a devoted fan of or you hate it. Definitely something I think Tori fans would enjoy. I am not at all put off by it, and I can imagine finding a niche in my moods where this would be appropriate. There's elements of Tori, Fiona Apple, Eurythmics, and Bjork (musically), and it does tend to slip into a commercial, polished mainstream, but there's enough indie element to keep it genuine and sincere. And yes, this is speaking to my depression today.

The Wrens: The Meadowlands

This was a nice find. I am always in the mood for some lo-fi mellowness. I hadn't heard this particular album, but it's watch you expect from The Wrens. Quiet drums, subdued vocals, and gentle resonance. Slo-core a la Low, but at times strives for post-rock a la Mono. It's a welcome blend. Where this album breaks free from a Wrens mold are mid-tempo changes, and vocals that become border on a pained soul. This and the Imogen Heap are likely to get a lot of plays as I try to move forward.

I also picked up a promo disc of Bob Dylan Live at Carnegie Hall 1963. I know why I picked this up, and it's not because I am a Bob Dylan fan. Along with the other disc, my immediate thought was a gift. So, I will just hang on to it for now. I also found a dvd of High Fidelity. I am in no mood to laugh right now, so I will shelf that for a lighter day.

Mix CD Trade - Tracy Burke

At the Swans show last week, Tracy surprised me with a mix cd. I spent the next two days listening to it non-stop and she gets a solid 8 on a 10 point scale. This was the completion of our deal in which she received an Elbow live disc and a mix cd that to be honest - needed a lot more art work and time - but Travis helped me out with the art aspect.

This is what Tracy gave me:
Veruca Salt - "All Mine" - a solid offering from this band that is refreshing and almost is infectious as "Seether".
Thomas Winter & Bogue - "French Love" - this was completely new to me, but I enjoyed it. A French Nick Cave singing rockabilly.
Roland Orzabal - "Day By Day By Day By Day By Day" - everything slows down on this track. He has an amazing voice, and it reminded me of something - it was familiar - but I still can't place it. Musically - there is a recent Peter Gabriel element.
Massive Attack - "Pray For Rain" - this is from their new album, and when I bought this album I was convinced it was Peter Gabriel. This is my favorite track on "Heglioland" as well as this disc. I sing this song daily.
M. Craft - "Sweets" - okay, this is where the Peter Gabriel similarities get a little too numerous. Good song and the female accompanyment is refreshing - but I was hoping for some energy at this point.
Gay Dad - "Different Kind Of Blue" - another new band for me - but they seem a little too inspired by early Radiohead. Good song - but a little uninspiring.
French Kicks - "Oh Fine" - cool song - keeping in the U.K. pop-sound vein. This sort of reminded me of Plant's "Now And Zen" or the Honeydripper's lp.
Emiliana Torrini - "Fingertips" - completely unknown to me - but Bjork influenced and similar vocal style a la "Debut". Totally dug it!
Elbow - "Suffer" - sorry Tracy - didn't like this one. Was rather flat.
Editors - "Eat Raw Meat = Blood Drool (Radio Edit)" - I like the Editors, they create infectious songs and this is no exception. Rythmically pulse driven, and Gabriel-esque vocals and quirky lyrics make this song #2 for me on this disc.
Danger Mouse and Sparklehorse - "Just War, Metronomy - The Look" - I honestly don't like either of these bands individually, or collectively apparently. If I had something sharp to shove into the cd player at the point that Sparklehorse took the reigns - I may have destroyed the radio or electrocuted myself. Okay - it's not that bad - it's decent song - just a little irritating for me personally.
Broken Bells - "The Ghost Inside" - they are taking quite a hold on the music scene right now, aren't they? There's nothing wrong with that - they are quite a good band. Unique - perhaps vocally - but beyond that, it's not outside the box of old hat. Good song and fits perfectly in this compilation.
Bloc Party - "She's Hearing Voices" - this is one of those hot/cold bands. Tracy picked well, this song is on - and it's energy is a nice pick me up. The song sort of has a Hives quality.
Bad Livers - "Dancing Days" - comes at you completely from left field with rapid banjo and hee haw vocals. I sort of wish it didn't. He says "it's allright", but really - it's not.

So, all in all - a very cohesive disc up until the end - but it's okay to throw a curve ball at the end. What did Tracy get from me? Well, I can't recall the order but these were the tracks:
Basement Jaxx - Cish Cash
Blancmange - I Can't Explain
Calvin Harris - Acceptable In The 80's
Chemical Brothers (feat. Ali Love) - Do It Again
Cranes - Shining Road
Crystal Stilits - Sycamore Tree
Daucus Karota - Father Of Temptation ... you know Rozz had to be on there somewhere!
Jaill - The Stroller
Miike Snow - Animal
Munchausen By Proxy - Keystar
Naked Ape - Fashion Freak
Santogold - L.E.S. Artistes
Shriekback - Flowers Of Angst
The Creatures - Speeding
The Dead Weather - Gasoline
The December Sound - Kill Me (Before I Kill You)
The Faint - Paranoiattack
The Last Shadow Puppets - Gas Dance
Yeah Yeah Yeahs - Heads Will Roll

"The Cult" ...Bad Album or Bad Timing?

Prior to this album's release in 1994, the last invitation into The Cult was 1991's "Ceremony" and the tumultuous tour and break-up that followed. The drama that surrounded "Ceremony" developed a culture about The Cult that precedes them to this day. Difficult recording session followed by difficult tour followed by blow-up and break-up and date cancellations. It's simply the nature of Billy Duffy and Ian Astbury - a love/hate relationship that is extremely talented and creative and explosive. By the time "Ceremony" hit, hard rock and it's breathren heavy metal were hemorrhaging from all veins and response to the album was flat. So, would a reinvented Cult in 1994 find anymore success? When I purchased "The Cult" and it's preemptive single "Coming Down", it seemed pretty clear to me that the band was paying attention to trends and took pages straight from the Seattle post punk/late 70's metal/grunge play book. It took a few years before I realized how dismissive that was and wholly inaccurate. The tip off that The Cult were treading a different path was evidenced by the 1992 single, "The Witch". Many of the elements that comprise that track are mixed with the lo-fi/garage elements of Ian's Holy Barbarians to flesh out "The Cult". What lacks on this album is any sense of cohesion despite that it's been described by Ian Astbury as a deeply personal and emotional journey. It's a difficult question as to whether or not this album was simply bad or released at the wrong time. We all know the culmination of events that resulted in the band breaking up amid their performance in Buenos Aires. As I mentioned - a pattern they established on the previous efforts and subsequent efforts to hold it all together. "The Cult is by far not a bad album, though tracks such as "Universal You", "Real Grrrl", and "Emperor's New Horse" are a mess. The band sounds scattered and uninspired. The contrast to these tracks are, "Be Free", "Star", "Black Sun", & "Joy" are strong, cohesive and flat-out rocking. The songs collectively are full of swagger and dirty grooves... oozing with plenty of sleaze and sex appeal. Musically it's a rollercoaster, the electronic undulation of "Gone" is an companion to tracks like "Be Free" which is inspiring, upbeat and rocking. "Sacred Life" is a droning anooying memoriam to fallen musicians, writers and artists - and is like putting a speed bump in the middle of a freeway. Bob Rock brought this album to fruition, made it happen, and for the most part - succeeded in allowing The Cult to do what they do best- rock! The apparent trapping of following the trend is only superficial and the proof lies in tracks like "Gone" and "Coming Down" - The Cult slither beneath the veneer of expectations and provide strong tracks. Sadly, their efforts, are clouded by the perceptions that the public has of them;the drama that follows them on every tour; and the ideas that once a hard rock band, always a hard rock band. "The Cult" is anything but another hard rock album and deserves a listen, hell, I think everyone should own it - it's rife with undiscovered gems for the average Cult fan. ore over, it stands alone in the collective that is the Cult's discography. It's closest comparison is, "Electric" in it's sleazy, lecherous appeal.

Swans, 13 September 2011

I approached this show not fully sure what to expect. Swans were never one of those bands I'd have written down on some ancient scroll from my youth of bands I must see before I expire. Not until I found out they were coming to town - then it was instantaneously a deep rooted compulsion from my core. Anyone vaguely familiar with the no-wave scene out of New York, or the lineage that draws parallels from current alt-folk straight back to the early 80's neo-folk foundations have undoubtedly come across Swans and the swathe of their passion. The band's name evokes anything but what one would expect to hear - and that's part of the assault. As a result of this virtually transcendental evening, Maisy has been researching Swans members, and found that Michael Gira asks that the a/c be turned-off prior to their performance. Having been witness to the cacophony that initiated their set - it makes total sense. Layers of piercing, undulating soundscape coupled with heat and thick crowd created that delicate fringe where it's nearly riotous or an epihany. It's completely on purpose that this maintains for 20 minutes before the remaining members of the band take stage. And it's at this moment, the reality that the Swans are anything but pouty and brooding takes hold of your breath, your brain, and your heart. They quite literally beat you into believing that the frightening rollercoaster through Michael Gira's brain is quite real and quite in the moment. Gira captured the experience succinctly in labeling their show as a set of encounters. The idea of 'songs' was obliterated from the very opening to the passionate close. I was convinced that Gira was traveling the acid train - but he was completely lucid in the few pauses... I'm certain now that he was simply captured by the rhythms and noise and carried away into his core... he was in essence possessed by this procession that he was directing. There's really no words that could fully describe what I experienced, and it's rather pointless, because as I discovered on the ride home - Maisy was moved in even more meaningful ways. Swans created a personal journey for anyone that was willing to take part and allow themselves to be taken. How on earth this band, comprised of members in their 50s and 60s can find that passion and inspiration nightly and not just go through the emotions or have a massive embellism is completely beyond me. But I do thank them for the experience, and for not taking for granted that I was going to see the Swans and whatever they wanted to do was fine.

Dum Dum Girls - "He Gets Me High"

I swore off this band after seeing them live earlier this year. I was so disappointed with the live performance (save the drummer who was captivating) - that I assumed this was the 'new sound' I would be treated to with any new material. I was however swayed by the release of Les Demoniaques a couple of months ago. This incredible one-track JAMC cover convinced me that I had been too hasty in my swearing off of the DDGs. What do they say about gut instincts?

I found myself in Park Ave. CDs to buy tickets for upcoming shows, and came face to face with "He Gets Me High" straddling the used bin, invitingly. Manipulatively. I added it to my collection of other used items and headed home. I put it in the cd player and immediately - I was taken right back to the concert. "FUCK!" Okay, okay - silver lining - bought it used. Gone was the lo-fi, 60's revival girl group... gone. What bothered me really - after a few listens to this e.p. - I realized that the opening track, "Wrong Feels Right" had in a sense been remade from the track that originally sucked me into DDG's web, "Dream Away Life". Sort of like spitting on someone after you just kicked their ass. I didn't even care at that point that you butchered a Smiths song - and amusingly enough - The Smiths version got stuck in my head all day. Is that because the DDG captured them so well - no, I think my brain was crawling back in on itself to find something that didn't make it hurt. I don't think I'll even bother illegally downloading the new full-length when it surfaces, that's how little love we have left in our fleeting romance.