Arthur Lee: R.I.P.

Arthur Lee has passed away having suffered from illness for quite some time. There's a lot to be said about the man, but I'm not in the mood for that now. Pitchfork has a little piece on him here.

...One year older

I usually don't link to Robert Christgau, but I'll make an exception for this brilliant piece, in which he chronicles a 30 day journey in search of good live music in New York. It's a hilarious and engaging read. Say what you will about the old grump, but the fact that a man of 65 still holds rock'n'roll so dearly that he is willing to go out on a month's search for the live kick is admirable by any standards. And just so that I've said it, it wasn't on the blogosphere that I discovered Toronto's Tokyo Police Club (TPC), this week's "most played" on my iPod, but through Christgau's monthly Consumer Guide. The old man still has good ears on him.

TPC play wonderful, woozy punk. The drums are assertive yet playful, the bass firmly states the riffs, while the guitars swirl around only occasionally joining in to produce more riffing power. The vocals remind me of Clem Snide, but lyrically they're more non-specific but still apt, even if my fave line so far may not read (as opposed to sound) like poetry: "You, you're so young, I don't care what you've done wrong". The Ep's called A Lesson in Crime. Sells for $9.99 at InSound.

Why, oh why hadn't I heard Rich Halley Trio's Mountains and Plains until just recently. I've got a thing for trios, especially jazz trios, and this is one of the best trio recordings I've heard in a long time, topped only by the two brilliant Adam Lane Trio albums (more on those later). Mountains... was released last year, but I don't know if I can be bothered to fit it into my 2005-list. But in case you're wondering, it may have cracked top 20.

Peace

You bore me to death

This is one shitty list, and it gets a deserved bashing by Woebot. And why, oh why must they feel the need to have Miles Davis' Kind of Blue in every single top-whaterver list they produce? I's mostly the Brits who do this. It's as if they feel the need to atone for something, like "oh, we must recognize Jazz too", and seeing as Miles is (most likely) the best known Jazz artist, they put him in. And because Kind... is his best seller, they choose that one. What an utterly uninspiring choice. It's not even Miles' best album!

If you know me or have read my blog, you'll know that I love Jazz. I'd have plenty of Jazz records in my top-whatever list, and not because I feel guilty or obliged to recognize the genre either. But you wouldn't see Kind... anywhere near the top of that list. It's a nice album. Occasionally beautiful, even. But not that great. Broaden your horizons, please.

F*cking-money-grabbing-p*ssy-ass-advertisers!!!

Jeff Chang quoted Davey D in yesterday's blog:

"According to Black radio programmers they avoided playing rap, because it was affecting their advertising".

And advertisers have always had a hand in hampering the exposure of African-American culture in the American media, from radio to movies and through to television. They've been afraid to alienate certain groups in America, in the early days, racist and biased Southerners for the most part. "No balls, mo' money" must've been their motto. They never learn, though, the f*ckers.

The Crazy Diamond

Syd Barrett passed away this weekend. I've never been a fan, but he's meant a lot to several people I admire, and it's interesting to note that Pink Floyd really became shit only after he left the band, as well as that the only album worth while post-Barrett was by and large a tribute to him. Shine on!

I bet you rock good on the dancefloor

I was wondering if Erase Errata could step it up after two promising records. It seems they can. Their new record Night Life (to be released on July 25 on Kill Rock Stars) has enjoyed heavy rotation on my iPod lately, and right now I can think of few bands that have rocked with as much conviction so far this year. They are incredibly precise, yet maintain just the right amount of bouncy looseness (for lack of a better phrase) and experimental glee. They emphasize instrumental interplay over lead-plus-comp; The guitars switch between chk-chk and melody, the bass between boom-boom and melody, and they do so without creating any mess. This kind of politics-in-instrumentation sets them neatly together with free jazz and post-punk, both of which influences can be heard in Erase's music. Still, they also churn out danceable grooves, as on the cowbell-ridden (!!!) and current fave track "Tax Dollar" (mp3 courtesy of Kill Rock Stars). I've danced to politics before, I can do it again. (Picture copied from their Myspace-site).

No stupid answers, only stupid questions

An acquaintance of mine, who writes for the Norwegian daily Dagbladet is covering this years Quart festival in Kristiansand. Yesterday, she wrote a short commentary after a pre-show press conference with the White/Benson colab the Raconteurs. You see, the Raconteurs had been rumored to have made a music video in Oslo before they headed down south. This had of course alerted the journalists, who were eager to ask the boys whether or not this was true. You see, Norwegians are very patriotic. Any form of flattery thrown our way is wholly swallowed, blown out of proportions in the press, and we can nod and pat ourselves on the back and say "I knew it! We're the best". So, if the Raconteurs had in fact recorded a video in Oslo, that would mean we rule.

Ok, back to the conference, which apparently started with the band confirming the rumors to be true before any of the press corps had been able to ask the question. "No sweat", you'd think, "there are plenty other questions we could ask". But that was the only question the journos had jotted down. The above-mentioned writer seems to be at a loss as to what to ask these visiting artist now, and so may resort to stupidities such as "How do you like Norway" and "What do you think of the Norwegian girls".

I must say, although Dagladet is a tabloid, it is also one of Norway's biggest newspapers and therefore one of Norway's most important conveyor of news about culture. But if the writers really have such difficulties finding good questions to ask bands and artists, we really have to consider whether or not it's worth sending them to cover these events in the first place. A press conference might not be an ideal place for in-depth questions and exchange of ideas about readings of their music, but puh-lease!!!

History Lesson pt.1/...Then we take Berlin

I got my copy of We Jam Econo last week. It is low-key, warm, heartfelt, made econo. Many, many people, fellow musicians, writers, fans, show their respects. But we're mainly being guided by Mike Watt, who comes across as an utterly nice, contemplative guy. I had the luxury of speaking with him for about half an hour back in 2001 when he was visiting Oslo with J. Mascis. Back then he was almost childishly eager to discuss Ibsen, of which topic I could contribute, and Japanese punk rock, of which he did most of the talking. He seems calmer on camera. Maybe it's just that he has D. Boon at the back of his mind throughout the interviews.

The film may be most interesting to those who are already familiar with the Minutemen and their fabulous music. But if it has one thing to offer others as well, it's the story of how this group of people fought the established codes and biases of a counter culture they believed, and hoped, to be without such evils. Plus, the live shows on the bonus disk are amazing, even if the sound could be a whole lot better.

Off to Berlin for a short week. It will be würst and weissbier. Or perhaps coke and ...er coke. It will definitely be fussball. Vive le France.

It's not the band I hate, it's their fans

What the fuck was Tom Breihan on about in his review of the new Dr. Octagon album? He's entitled to not like the album, but the reasons he gives for not doing so have little to do with criticism:

• Kool Keith's main audience is white - Come on! Does his audience dictate the quality of his records?
• It is not a rap album - Slating music because it doesn't belong in a genre is as narrow minded as it gets. An album should be evaluated for its music (and words/lyrics), not whether the music belongs in a genre or not. You won't hear me crack down on, say, Ziggy Stardust for the reason that it's not a jazz album.
• It is not a Kool Keith album - Why does that matter? Only in so far as Kool Keith should be given credit for the album, but your task is to review the music, not to hand out credit points.

At least I have an ally in my liking of the album, and he's got a bone to pick with the "review" as well.

The End of You? Say it ain't so

Jeez! I go away for a few days, and get home to the news that Sleater-Kinney has decided to call it quits!!! The thought of never having a chance to hear another new 'Kinney record is too much to bear right now. If you really want it this way, then thanks for all the great music and the memories.

Briefly Noted

A quick round-up of recent records. Grades may change.




Dr. Octagon: The Return of Dr. Octagon (OCD)

Read my review: 7/10

Mario Pavone Sextet: Deez to Blues (Playscape Recordings)

Veteran bassist plays New York loft-like swing: 7/10

Zu & Geoff Farina: Ardecore (Il Manifesto)

Roman "murder ballads", apparently. One reason to cheer for the Italians this year: 7/10

Benardo Sassetti Trio: Ascent (Clean Feed, 2005)

Piano trio. Quietude: 6/10

Mission of Burma: The Obliterati (Matador)

On Off On: 6/10

Burial: Burial (Hyperdub)

Producer with secret identity. Big Dissensus hype. Dubstep? A 2006 take on Timeless: 6/10

Nelly Furtado: Loose (Geffen)

Timbaaa! Promiscuous maneater: 6/10

Six Organs of Admittance: The Sun Awakens (Drag City)

And I fall asleep. Instrumental nu-folk, schmolk: 4/10

I Love this Game

In between watching the World Championship of the best sport in the world (sorry NBA), I have tons of new records to listen too. One of the best so far: Sonic Youth's Rather Ripped; a sharp, concise, rocking record. Guitars ablaze, bass thudding firmly, and Shelley keeps pounding the drums with the now familiar authority. Current fave: "Sleeping Around":

"Sleeping around / Sleeping Around / What will the neighbors say (...) / What you did was wrong (...) / Always ends up in a fight"

Somehow I suspect it's not about just any old love.

I'm not just a doctor, I AM A MAN

"Don't worry Mz. Pop music, your son's going to be alright"

So says Kool Keith in the guise of Dr. Octagon on his new album The Return of Dr. Octagon. Kool Keith may not be best known for his willingness to play the pop game. Whether spitting rhymes with The Ultramagnetic MC's or putting on one of his many personas, he has always preferred a dark and eerie soundtrack to his warped, dense, and crazy lyrical universe. Nor is he known for consistency, but when he's been good, as on the now classic Dr. Octagonecologyst and as Dr. Dooom in First Come, First Served, I've found his musical and lyrical humor highly entertaining, no matter how disturbing. But this time, he's funky too.

I'm not sure whether it's a sign of a more sensitive Kool Keith, but titles like "Trees" and "Perfect World" from The Return does have a different ring to them than does "I'm Destructive" and "Halfsharkalligatorhalfman". Musically this is probably his strongest album; plenty of funky electro beasts, with synth riffs, Latin trumpets ("Aliens") and elements of Eastern music ("Ants") for added spice. His darker sides are shown on the bass-heavy "A Gorilla Driving a Pick-Up Truck", which has Kool Keith doing Buck 65. But more startlingly, tracks like "Perfect World" and the highly infectious "Al Green", with it's sampled guitar riff, should get even the stiffest booty shaking. And if there's one thing that Kool Keith still knows, it's booty.

The Return of Dr. Octagon is due out on June 27.

Over there

I used to get asked, mostly by English mates, if I had a theory as to why quality (they meant "alternative", which by no means equals quality) music charts in Britain, but barely makes a splash in the American charts. Their aim was often to point out how they thought Americans were "stoopid", and couldn't tell a good piece of music from their what-you-call-it. They're still a bit jealous, aren't they.

There are many stupid Americans, but there are plenty of stupid Brits, too. Still, my answers tended to point to the fact that the American market is much more varied than the British; The country is after all a mixture of people and cultures that differ in several respects. American culture is not a mono-culture, but rather a heterogeneous culture. Furthermore, the market is much bigger than in Britain, and I also think the British music press is better (or worse) at hyping new artists than they are in America.

Why this? Well, there is a mildly interesting article and Q & A by/with Sasha Frere-Jones in the latest edition of The New Yorker, in which he takes up the issue of why certain British and overseas artists simply don't make it in the United States. In the Q & A-bit in particular, he has some good points.

His final words cracked me up, though. Asked if he thinks Lordi will ever make it in the States, he says:

"Do not speak of Lordi. Lordi rules us all."

Desmond Dekker, 1941 - 2006

Desmond Dekker R.I.P. A handsome man with an even more beautiful voice. When he hits the high note on "be" in the line "so that every mouth can be fed" in "The Israelites", Man!, it gets to me every time. Anybody who complains, unjustly, that Jamaican music is all about rasta and ganja should at least give a listen to that song a couple of times. An extended tribute by Tom Breihan here.

Sex with the Au Pairs

It can perhaps be argued that punk's "anything is possible"-attitude really didn't come to life 'til after punk was dead. Most punk bands were getting increasingly reactionary in terms of their music and image, not to speak of lyrics, as 1977 drew towards 1978. But soon a good few bands came through, inspired by the movement but eager to take things further. Granted, many of these bands started with the original punkers, but it wasn't just the music that was fast in '77. Movements happened fast too. Post-punk it is, then.

I'm not going to write yet another history of punk. During the past few years, Mojo, Uncut, and countless other, mostly British, publications have been churning out one punk special issue after another. Much of this has been made relevant due to the rise of several punk and post punk-inspired bands recently. This has also resulted in a host compilations of music from the post punk era, plus re-issues of more or less classic albums. For which I am glad, of course. Among other things, I was finally able to get Television's fabulous "Little Johnny Jewel" on CD. I also discovered Medium Medium, whose "Hungry So Angry" always makes me want to shake the booty. Then there's been Liquid Liquid, DNA, ESG, Delta 5... the list goes on.

Strangely, though, there has been no sign of any re-issues by the Au Pairs. That is until now. Castle Music has released Stepping Out Of Line: The Anthology which collects their two albums Playing with a Different Sex and Sense and Sensuality, plus plus. As the titles of the two albums suggest, one of their main topics was sex: the lure of it, the danger of it, the guilt, the pressure, how to live up to expectations, how to perform. Their two girls + two guys line-up meant that their topic could be presented from both of the sex' view, and indeed many of their songs are built around the interchanging vocals of Lesley Woods and Paul Foad performing the lyrics almost like a conversation. The staccato guitars signal the anxiety while Jane Munro's bass and Pete Hammond's drums pump out danceable rhythms that take the role of temptation. "Come Again" from Playing... is their shining moment, a view into a relationship strained by the expectations of sex.

Yes thank you, I got one
Yes it was nice, yes we should go to sleep now
Yes, yes it was fine
We must, we must do it again sometime
We must - yes, but I'm tired
Cum again, wot, I need to
shit, I forgot to put my cap in...

(Mp3 courtesy of Rockin Rina'sWomen of 1970's Punk ).

True

"Christ but that guitar breakdown in "Floating Boy" is sweet."

And so is the new Dixie Chicks.

Is you is or is you ain't a racist/rockist

I'm very busy these days, so I don't have time to pitch in with my view on whether Stephen Merrit is a racist or not for not liking rap. (But I may have a say soon).

Nor do I have any time to comment on the ever-returning theme of rockism v. popism, other than to say that this article by Jody Rosen is one of the more insightful views on the topic I've read.

And speaking of rockism, Scott Walker is a rockist hero, his new album receiving praise from all over the place. Except for Mike Powell here. Thing is, Scott Walker looks cool, he wears sunglasses, sings in a deep voice, and surrounds himself with an aura of mystique. As well as he writes (most of) his own songs. For some critics, this seems to be enogh to signify that he is more eh...valuable than, say, Frank Sinatra. Old Blue Eyes rarely shunned the limelight, nor did he write his own songs, but I'll play "Strangers in the Night" over most of Scott Walker's output anytime.

Tired of Being Sexy

Had they arrived a year or two ago, Brazilian seven-piece Cansei de Ser Sexy would probably have been labeled as dance-punk, but they're only "punk" in-so-far as their music is jumpy. Their myspace-site maintains that they sound like "a band". But, yes, they are dance in their use of synthesizers for beats, melody and texture, and also because their music is, you know, danceable. The other elements are closer to guitar-pop (or 90's"indie"). At any rate they are FUN. And although their English occasionally leaves something to be desired, it's more than efficient enough to have a dig at pretentious artists ("lick lick lick my art-tit, suck suck suck my art hole"), as well as nailing Paris Hilton's lingo ("do you like the beach, bitch?"). And when they ask me "do you wanna drink some alcohol?", my answer is most certainly "YES". They may be tired of being sexy, but they're not tired of having fun.

(The album, Cansei de Ser Sexy, is to be released on July 12 by Sub Pop Records).

Grant McLennan, 1958-2006

This is just too sad. Grant McLennan, co-founder of that utterly terrific group the Go-Betweens, sadly passed away in his sleep on Saturday 6th of May, 2006. There is a nice obituary on the band's official web site. The Go-Betweens have been one of the most astonishingly consistent purveyors of sophisticated and intelligent pop since the early eighties. Grant will be greatly missed.